SHIRLEY BROWN-WOMAN TO WOMAN.
SHIRLEY BROWN-WOMAN TO WOMAN.
For many years, I’ve been a huge fan of the music on Stax. Since I bought my first album bearing Stax’s clinging fingers logo, I’ve literally bought hundreds of the albums, compilations and box sets that have been released. Over the years, I’ve explored the albums released during the various stages of the label’s history. Today, I’m going to revisit an album that was released towards the end of Stax’s lifetime in 1974. Previously, Shirley had released a hugely successful single, Woman To Woman in 1974, which reached number one in the US R&B Charts, number twenty-two in the US Billboard 100 and was nominated for a Grammy Award in 1975. Sadly, this million selling single, for which Shirley received a gold disc, was Stax’s final hit single. Following on from the success of the single, Stax released an album also entitled Woman To Woman, but by this time, financial problems and litigation had embroiled the label. Unlike the single, the album wasn’t a huge commercial success, reaching number eleven in the US R&B Charts and number ninety-eight in the US Billboard 200. Part of the problem was problems facing Stax, with a lack of promotion and marketing of the album. When It Ain’t No Fun was released as a follow-up single, it too, failed commercially. Shortly afterwards, one of soul music’s greatest and most innovative and influential labels closed its doors. Stax was no more, after twenty-eight years releasing some brilliant soul and funk music. It was a hugely sad end to a once great label, and fans worldwide mourned the passing of this legendary label. However, Woman To Woman was a hidden gem that sadly, didn’t receive the attention it deserved. I’ve been a fan of this album for many years, and recently, the album has been remastered, presenting me with the perfect opportunity to write about this gem of an album.
Woman To Woman opens with the follow-up to the million selling Woman To Woman, It Ain’t No Fun, a track written by Fredrick Knight. It’s a track with a mid-tempo, with the rhythm section driving the track along. A combination of chiming guitars, atmospheric piano, beefy sounding drums and loping bass accompany Shirley as the track opens. Her voice is absolutely laden with emotion and feeling as she sings the lyrics about a love affair gone wrong, with the love they had now lost. Meanwhile, the arrangement grows, to include brief bursts of horns which interject. Their brevity is subtle a and just perfect, thanks to James Mitchell, Hi Records’ Willie Mitchell’s younger brother. Later, the Stax string section sweeps in, a perfect addition to Shirley’s near spiritual vocal. Throughout the track, her slow yet powerful vocal, is drenched in sadness and regret, made all the better by swooning, soulful backing vocalists, whose voices are the perfect accompaniment for Shirley’s vocal. By the end of a hugely moving, sad song, you can’t quite comprehend how the single wasn’t a much bigger success. With such a heartfelt vocal and an arrangement that’s full of emotion and sadness, it’s a brilliant combination and the perfect way to open the album.
Long As You Love Me has quite a different sound to the opening track. It’s a bright sound the listener hears with the rhythm section, an atmospheric Hammond organ, guitars and a burst of horns combining before Shirley’s vocal enters. Here her vocal is slightly quicker, but neither as loud nor strong. Instead, her voice has a joyous sound, as she sings some good lyrics. Granted, they’re not as good as Fredrick Knight’s lyrics to It Ain’t No Fun, but they’ve got a nice sentiment, about love and being in love. As the track progresses, her voice starts to get louder and stronger, and the arrangement gets even better. Bursts of braying horns cut in, while the Hammond organ provides a lovely atmospheric sound and some subtle and gentle backing vocalists accompany Shirley. This is a good song, well sung and arranged. However, the lyrics slightly let it down. Coming straight after It Ain’t No Fun was a tall order, and it was going to be difficult to follow such a good track.
Thankfully, after a slightly poor previous track, Shirley easily makes amends on Stay With Me Baby, a track that’s been covered by many people over the years. There have been good, bad and indifferent versions, but Shirley’s version is among the best. Her gospel influenced voice is just perfect for this song, giving a dynamic and energetic passion laden rendition of the lyrics, her voice soaring powerfully, but always in control. Matching her stunning performance is the Stax house band. They play brilliantly, starting slowly and subtly, a mixture of piano, rhythm section, gentle chiming guitars and sweeping, lush strings. Quickly, an excellent arrangement unfolds, a demonstration in how to play with a combination of subtly and drama. Not once does their playing overpower Shirley’s energetic, passionate and soaring vocal. Instead, they’re content to play second fiddle to Shirley, providing the perfect backdrop for her vocal. Together, they produce a stunning track, one full of passion and drama, that’s one of the album’s highlights.
It seems that Shirley is on a roll now, with I’ve Got To Go On Without You being another great track featuring a hugely soulful vocal and catchy, dramatic arrangement. Straight from the opening bars of the song, it’s apparent something special is about to unfold. A combination Hammond organ, rhythm section and blazing horns dramatically open the track before a powerful and deeply soulful vocal from Shirley enters. Here, she’s putting a brave face on, having been left alone when her man has left her. Her voice is a mixture of stoicism, bravery and hurt, as she gets across the story behind the song. Behind her, the band inject feeling and drama into the situation. Interjections from braying, joyful horns, swaying Hammond organ and a driving rhythm section that injects drama into the track. When combined with Shirley’s vocal, it’s a potent and compelling combination, that’s the recipe for another excellent track.
Woman To Woman, Shirley’s million selling, number one R&B single is best described as a mini-drama, with the track opening with Shirley phoning a woman called Barbara, who apparently has been having an affair with Shirley’s husband. Shirley warns her love rival, that the man she’s in love with, is her’s, every bit of him. Against a slow, lush and atmospheric arrangement that’s mainly the rhythm section, chiming, shimmery guitars, and subtle horns, Shirley warns Barbara. After a minute and a half, Shirley’s vocal begins. Like the earlier part of the track, Shirley’s voice is full of passion, but here it soars powerfully, as she warns Barbara and explains the situation. Behind her, the arrangement is still subtle, melodic, with just the rhythm section, horns and guitars combining. Together, they provide the perfect backdrop for Shirley’s gutsy vocal, which is part warning, part promise. Quite simply, Woman To Woman is a ballsy track, one part bravado, to one part passion, and one that’s quite brilliant.
After the warning shot that was Woman To Woman, So Glad To Have You is a track that’s a mixture of soulful vocal and funk laden arrangement. The rhythm section open the track, before horns serenade and the arrangement picks up a funky groove. As if on cue, Shirley’s vocal enters, strong and soulful, it soars as she gives thanks for her love. Meanwhile, an arrangement drenched in funk unfolds. Donald “Duck” Dunn’s bass accompanies Al Jackson Jr.’s equally funky drums, while horns, organ and subtle wah-wah guitar combine with a piano and backing vocals. Together with an outstanding vocal from Shirley, it’s an irresistible combination, sultry, soulful, with a plentiful sprinkling of funky music.
Chiming, shimmering guitars, a slow dark bass, percussion and drums accompany a beautiful, slow and heartfelt vocal from Shirley. As if that isn’t enough, an atmospheric Hammond organ cuts in, as do swooning, sweet backing vocalists. They all accompany Shirley who sings some gorgeous vocals about love and being in love with someone. Here, Shirley gives a vocal that’s both joyful and beautiful, made all the better by a slow, meandering and understated arrangement, which brings out the best in the lyrics and heartfelt vocal.
I Can’t Give You Up might be a different style of song, but like the preceding tracks, is still of the highest quality. The tempo is quicker, the sound louder and brighter, as guitars, rhythm section and then horns open the track, before Shirley sings. Her voice is loud, clear and full of emotion and passion, as she sings some great lyrics by Fredrick Knight, who incidentally, wrote the opening track It Ain’t No Fun. Behind her, the arrangement is catchy, lush and sweeps along, combining drama and emotion. Brief interjections from braying horns, keyboards, chiming guitars and dramatic bursts from drums and piano, all play their part in an arrangement that combines elements of soul and jazz. When taken with Shirley’s emotive and joyful vocal, again, producers Jim Stewart and Al Jackson Jr have yet again, found the winning formula, producing a catchy and hook laden track.
By now eight songs into the album, I’ve come to the conclusion that had Stax not been in financial and legal trouble, Woman To Woman would’ve been a hugely successful album, given the high standard of vocals and arrangements. With just two songs left on the album, I hope I’ve not spoken to soon. Thankfully, when I hear the introduction to I Need You Tonight I realize that it isn’t the case. It’s another track featuring an outstanding vocal from Shirley. Her voice is laden with emotion, passion and drama, while the arrangement is perfect for her sad, heartfelt vocal. It sweeps lushly along, tugging at your heartstrings all the way. Strings combine with rasping horns, dramatic drums, and occasional chiming guitars. Swooning, soulful backing vocalists gently accompany Shirley, her voice rising, sadness and regret never far away. By the end of the track, this sadness and regret is so real it’s almost tangible, you feel you can almost touch it, feel it. Not many singers can bring a song to life, but Shirley Brown can, and does it brilliantly.
Woman To Woman closes with Between You and Me. Sadly, this was the last track on one of the final albums Stax ever released. Not long after this, the label folded, bringing to end a constant stream of sumptuous soul music since 1957. Fittingly, Shirley has reserved one last passion laden performance for this track. Donald “Duck” Dunn’s bass, Al Jackson Jr.s’ drums, an organ and chiming guitars combine before Shirley’s voice soars, a mixture of power and passion. Behind her, an arrangement that combines funk and soul unfolds. Joining an already fulsome arrangement are lush, sweeping strings, that combine with a funky rhythm section, shimmery guitars and atmospheric organ. Here, Shirley’s vocal style is looser, with her almost ad-libbing and scatting. However, she does this really well, with her trademark power and passion omnipresent. As if sensing this could be the label’s final throws, Shirley and the band raise their game, determined to go out in a blaze of glory. This they succeed in doing magnificently, closing the album with a track that combines what made Stax famous, soul and funk music.
It seems a tragedy that Shirley’s album Woman To Woman was released at a time when Stax was just about to go out of business. Had it been released at an other time, and marketed properly, it may have given Shirley a hit album to match her earlier hit singe Woman To Woman. Because of the predicament Stax was in, Woman To Woman wasn’t promoted or distributed the way it should’ve been. Since then, many people, myself included, have realized how different Shirley’s career may have been, had the album been the huge commercial success it deserved to be. Instead, it’s had a cult following, loved by a small group of soul fans, instead of a wider audience. On Woman To Woman, Shirley demonstrates that she was far from a one-hit wonder, delivering one great song after another. Her follow-up single to Woman To Woman, It Ain’t No Fun also deserved to do much better. Sadly, it met the same fate as the album, lacking proper promotion and distribution. This meant Shirley couldn’t build on her earlier success, and instead, joined the ranks of many other artists who had one hugely successful single on Stax. However, unlike many of them, Shirley released an excellent album, Woman To Woman, which has just been rereleased and remastered. The remastering has really lifted the sound quality, bringing the music to life in such a way that you hear the subtleties and nuances of the album even better. So if you’ve never heard Woman To Woman I can thoroughly recommend it. It’s one of soul music’s hidden gems, crammed full of some hugely soulful music, sung by one of the best soul singers of the seventies Shirley Brown. Standout Tracks: It Ain’t No Fun, Stay With Me Baby, Woman To Woman and I Can’t Give You Up.
SHIRLEY BROWN-WOMAN TO WOMAN.
|
![Woman to Woman [Stax Remasters]](https://i0.wp.com/ecx.images-amazon.com/images/I/41ZkLvalJgL._SL500_AA300_.jpg)
DEE DEE SHARP-WHAT COLOR IS LOVE.
DEE DEE SHARP-WHAT COLOR IS LOVE.
There are two reasons that I’ve chosen to write about Dee Dee Sharp’s 1977 album What Color Is Love. The first is quite straightforward, and is because during the time Dee Dee spent on her then husband Kenny Gamble’s label Philadelphia International Records, she recorded three really good albums. Sadly, these albums never found the commercial success they deserved. Instead, neither the album nor the three singles released from it, Trying To Get the Feeling Again, What Color Is Love and Just As Long As I Know You’re Mine, made any impact on the charts. Since then, the album has remained a hidden gem among soul fans, known to the cognoscenti only.
My other reason for writing about What Color of Love is that the title track is a Terry Callier track, which Dee Dee interprets beautifully. Regular readers to this blog will know that I’m a huge fan of Terry’s music, and previously, have written three articles on his albums. This isn’t the only cover version on the album, with Tryin’ To Get the Feeling Again, written by David Pomeranz, having previously been covered by Barry Manilow. On What Color Is Love, Dee Dee’s interpretation of the song is much better than Manilow’s version, full of power, emotion and feeling. Unfortunately, like her version of What Color Is Love, it failed to garner either the radio play or sales it deserved. This seemed to the story of her time on Philadelphia International Records, which saw here release just three albums over a ten year period.
What Color Is Love was the second album Dee Dee’s had released on Philadelphia International. Her first album was Happy ‘Bout the Whole Thing, released in 1975. This album featured a new version of the label house band M.F.S.B., assembled when the original band quit to become the Salsoul Orchestra. Happy ‘Bout the Whole Thing was Dee Dee’s first album in twelve years, since 1963s’ Down Memory Lane. The album featured three songs co-written by Dee Dee and featured a cover of 10CC’s hit I’m Not In Love, which was released as a single. It reached number sixty-two i the US R&B Charts in late May of 1976, giving Dee Dee her first chart hit in over a decade. Sadly, this success didn’t help the album, which failed to replicate the success of her earlier music, when she received gold discs for million selling singles.
Two years later, in 1977, What Color Is Love was released, and it too failed commercially. Maybe her third album on Philadelphia International, Dee Dee, released in 1980 would be more successful. Unfortunately, the album that was released the year Dee Dee and Kenneth Gamble divorced, failed commercially. However, one of the tracks on the album Easy Money, reached number one in 1981, on the Hot Dance Club Play chart, where it spent four weeks. By then, Dee Dee had decided to take another break from music, enrolling in a course in psychology at Columbia University where she gained an MSc in psychology. After that, she took a PhD in psychology at the University of Pennsylvania, eventually becoming a clinical psychologist. Since the 1990s’, she’s made a part time return to music, allowing those who loved her music, including albums like What Color Is Love, to roll back the years.
What Color Is Love opens with I Believe In Love a song the Dexter Wansell cowrote with Cynthia Biggs, his writing partner. At the time, many people thought the track was good enough to be a single, but eventually, was only released as a b-side. Like many people, I wonder whether this was a missed opportunity. The track opens slowly, with a lush sound, thanks to a combination of keyboards, rhythm section, guitars and strings, before Dee Dee sings. Her voice is gentle and considered, accompanied by some hugely soulful backing vocalists. Horns interject briefly and occasionally as the arrangement unfolds, getting even better as the track progresses. Strings sweep, accompanied by short burst of horns, while a piano plays and the rhythm section and chiming guitars combine. Meanwhile, Dee Dee’s voice has grown in strength, getting louder, laden in passion and emotion, as she delivers some great lyrics about love and how it feels to be in love. A combination of a lovely vocal, full of power, passion and energy, and a lush, atmospheric and fulsome arrangement from M.F.S.B. Mk. 2, make this an excellent track to open the album.
Just As Long As I Know You’re Mine was co-written by Mary Wells and Cecil Womack, Bobby’s brother in conjunction with Gamble and Huff. This was the third single released from the album. Sadly, like its predecessors, it failed to be a commercial success. Considering it was such a good track, this seems strange. The track has an upbeat, uptempo style, with keyboards, rhythm section, percussion and guitars combining before a louder, but slightly husky sounding vocal from Dee Dee begins. Quickly, a really catchy, arrangement that combines elements of soul and funk unfolds. A myriad of keyboards, quick funky bass line, shimmery guitars combine, while braying horns and bouncy drums inject drama. Like the arrangement, Dee Dee’s vocal gets stronger and funkier. It’s a mixture of power and raw emotion, she delivers the lyrics with. Dramatic waves of driving, powerful music, accompany Dee Dee’s vocal, matching her passion and energy every step of the way. By the end, it’s a very different sound and style from the opening track, but demonstrates Dee Dee’s versatility as a vocalist, and her ability to deliver a variety of styles of music just as well. Why this dynamic, driving combination of soul and funk didn’t fare better as a single seems a pity, instead remaining a well kept secret to all but soul connoisseurs and the music cognoscenti.
On this album, Dee Dee covers two well know songs, the first being Tryin’ To Get the Feeling Again, written by David Pomeranz, and having been covered by Barry Manilow. This version is much better, thanks to Jack Faith’s arrangement, which transforms the track into a lush, and deeply emotional, string led song bathed in pathos and drama. Immediately, when the song begins, you’re aware of a foreboding, dramatic sound, which quickly, gives way to a much gentler, melodic sound. Lush strings, dark, slow pass, gentle piano, subtle drums and horns accompany a deeply moving vocal from Dee Dee, whose voice is strong, full of emotion, sadness and regret. By now, the arrangement slow, full of pathos, is meandering along, with dramatic peaks and flourishes, thanks to a combination of drums, strings and proud horns that are almost grandstanding. The longer the track goes on, the stronger Dee Dee’s voice gets, ending up a hugely dramatic, nearly angry and frustrated roar. This is so powerful that you can almost sense emotion and sadness. When combined with Jack Faith’s potent and equally dramatic arrangement, it’s a winning combination, resulting in one of the album’s highlights.
I Wanna Be Your Woman is a very different track to the previous one. It has a lovely bright, melodic sound, and features a very different style of vocal from Dee Dee. The rhythm and string sections, percussion, chiming guitars and keyboards combine to produce a slow, lush and melodic arrangement. Meanwhile, Dee Dee’s vocal combines understated sensuousness with emotion and power. Together with the arrangement, Dee Dee brings the lyrics co-written by Don Convay, Dexter Wamsell and Carl Gamble to life. During the track, the tempo is slow, with strings, rising and falling in waves, at the heart of everything that’s good about the arrangement. So too is the bass, which along with the drums, gives cues to the strings when to inject another sweeping wave of their lush lovely-ness. Another important factor during the track are the swooning, backing vocals which unite soulfully to accompany Dee Dee. When all this is combined by arranger Roland Chambers and producers Don Convay and Dexter Wamsell, the result is a fantastic track that’s lush, melodic and hook laden, and laden with passion, promise and power.
Anyone familiar with Destiny’s Child 2004 album Survivor, will have heard a sample of Dee Dee’s song Flashback during one of the bonus tracks on Survivor, Game Over. This was just one of several samples used on this album. However, anyone wanting to hear the full song, needs to buy this album. Should they do so, they won’t be disappointed. Chiming guitars, followed by keyboards and drums, playing slowly and thoughtfully, open the track, before Dee Dee’s vocal enters. It’s gentle and considered, as she sings about love and how good it’s to be in love, and the familiarity of the relationship. As the song progresses, sweeping, grand strings enter, and when combined with the rhythm section, keyboards and guitar, provides an arrangement that’s slow, and full of emotion and beauty. This is the perfect backdrop for an equally beautiful vocal from Dee Dee, which is quite joyous and drenched in emotion. When the track ends, Dee Dee has delivered a vocal masterclass. One can only hope was studied by the next generation of singers and music fans when released as part of Destiny’s Child track Game Over.
Nobody Should Take Your Place is the only track on What Color of Love written by Gamble and Huff, the two musical masterminds responsible for The Sound of Philadelphia. Straight away, when the bass plays the introduction, I’m reminded of the introduction to My Girl by The Temptations, a Motown classic. That however, is where the similarities end. Thereafter, strings sweep in, drums and horns combine with piano and percussion, while Dee Dee’s vocal enters. It’s quick, loud and joyful, accompanied by equally joyful backing vocalists. Suddenly, the song is transformed into a fast paced, fuller arrangement, a combination of strings, rhythm section, guitars and keyboards. However, Dee Dee’s powerful, joyous vocal, along with the strings, are at the heart of everything good about the track. When the backing vocalists enter, their contributions have its roots in gospel. During the track, there are several breakdowns, where the arrangement slows down, and the arrangement is pared down. Afterwards, it builds back up, reaching a breakneck tempo, perfect for any dance-floor. When Dee Dee’s joyous vocal is combined Gamble and Huff’s lyrics, arranged by Jack Faith and featuring the new lineup of M.F.S.B., you’ve the recipe for a tremendous track, fit to grace any dance-floor.
Terry Callier wrote What Color Is Love, the title track to his 1973 album on Cadet. That to me is the definitive version of the track, but Dee Dee interprets the track beautifully, doing so with feeling and emotion, her vocal considered and thoughtful. Strings, piano and drums dramatically accompany Dee Dee, who sings the song faster than Terry’s original, but does so with feeling, her vocal considered. Behind her, backing vocalists unite, their vocals rising almost spiritually, while the string and rhythm sections combine with piano and guitars. Like the vocal, the arrangement is quicker, and is also fuller. Strings sweep and shimmer, while the piano and rhythm section up the tempo, as horns interject. Dee Dee’s vocal is a mixture of soul and jazz, the arrangement much more dramatic and has elements of soul and jazz throughout. The addition of the backing vocalists really suits the song, as does the quicker tempo and fuller arrangement. It’s a really good cover version of Terry’s song. Good as it is, Terry’s version is still the definitive version.
The third cover version on the album is I’d Really Love To See You Tonight, which was originally sung Dan Seals and John Ford Coley. As good as that version is, i much prefer Dee Dee’s version arranged by Jack Faith, and produced by Jack Faith and Phil Terry. When the track opens with chiming guitars, dark, slow bass, female subtle, gentle female backing vocalists and drums combining before a restrained and sweet vocal from Dee Dee. At this time, there’s no hint of what’s to come. Quickly though, her voice starts to grow in power, as does the arrangement which, later, sees horns interjecting. By then, the arrangement is lush, melodic and full of hooks. Likewise, Dee Dee seems to transform the lyrics, singing them with a heartfelt passion. Backing vocalists sweep in, as do strings, lush and grand. Later, male backing vocalists sing subtly, as a saxophone solo plays, while string and the rhythm section combine with Dee Dee to add drama. This they do brilliantly, with Dee Dee really giving a powerful, passionate deliver of lyrics, her voice roaring, really letting herself go. When the track ends, it’s immediately apparent that this brilliant track is easily one of the best songs on the album.
What Color Is Love closes with Hang Your Portrait, a track that opens with a combination of driving rhythm section, sweeping strings and braying horns, before Dee Dee sings some old fashioned lyrics, which bring to mind the roaring twenties, thanks to references to The Great Gatsby and Al Capin. Her voice is powerful, full of emotion and passion, as rasping horns, lush strings and the rhythm section and guitars combine. Although the lyrics are descriptive and paint a picture, they’re not the strongest on the album. They’re slightly weak, maybe even a bit contrived. However, Dee Dee does her best, throwing herself into the song, singing the lyrics passionately. Meanwhile, the arrangement is fast paced, fulsome and catchy, with a slightly old fashioned sound, that suits the lyrics. Sadly, when the track ends, I feel somewhat disappointed, with this being the song that closes the album. It was a song that promised much, but ultimately, because of weak lyrics, failed to deliver.
Looking back on What Color Is Love it seems strange that an album full of so many great songs, failed to make an impact on the charts in either the US or UK. The album features three great cover versions in Tryin’ To Get the Feeling Again, What Color Is Love and the outstanding I’d Really Love To See You Tonight. Apart from that, tracks like I Believe In Love, I Wanna Be Your Woman and the Gamble and Huff penned Nobody Should Take Your Place are all great tracks. The only disappointment is the closing track Hang Your Portrait, which I feel has slightly weak lyrics. So, of the album’s nine tracks, eight are of the highest standard, and feature some fantastic vocals from Dee Dee. She’s a hugely talented vocalists, who delivers songs with passion, emotion and power, and is hugely versatile as a vocalist, able to deliver a variety of styles of song. As usual on any Philadelphia International album, the arrangements and production are of the highest standard. On this album, various arrangers and producers were used. All of them played their part in making this such a great album, as did the second incarnation of M.F.S.B. who played brilliantly on each track. Together with Dee Dee, they produced a fantastic album that has much to commend it. If after reading this article, you decide to buy this album, it’s now available as part of a two disc set that includes the three albums Dee Dee recorded for Philadelphia International. So why not introduce yourself to Dee Dee Sharp, and her music, after all, why should her music remain a well kept secret to all but soul connoisseurs and the music cognoscenti? Standout Tracks: Tryin’ To Get the Feeling Again, What Color Is Love, I’d Really Love To See You Tonight and Nobody Should Take Your Place.
DEE DEE SHARP-WHAT COLOR IS LOVE.
BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.
BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.
Sometimes, I feel the word legend is used too often nowadays. Two successful albums seem to be about all it takes for an artist to attain legendary status. That always makes me smile, when there are artists like Bobby “Blue” Bland whose recording career has spanned six decades. His debut album Blues Consolidated was released on Duke Records in 1958, and six decades and twenty-six studio albums later, Bobby released Blues At Midnight in 2003. However, Bobby’s recording career started in 1951, aged twenty-one, when he released Booted on Chess Records. After that, he released three further singles for Chess, before switching to Duke Records where he released numerous successful singles. Since then, he has worked with some of the biggest names in music including BB King and Van Morrison. Like Sam Cooke, Ray Charles and Junior Parker, Bobby’s music is a fusion of gospel, blues and R&B.
During his career he has made some critically acclaimed albums, one of his best being His California Album, released in 1973, which was released on ABC-Dunhill Records. Dunhill Records had been taken over by ABC Records. By this time, Bobby had turned his life around, having stopped drinking two years previously. So, when he entered the studio with ABC’s producer Steve Barri, arranger Michael Omartian and some of Los Angeles’ best session musicians, everything was set for Bobby to produce a classic blues and soul album. When the album was released, it became Bobby’s first album to enter the US Billboard 200 in nearly a decade. Two successful singles were released from the album, This Time I’m Gone For Good, which reached number five in the US R&B Charts and Goin’ Down Slow, which reached number seventeen in the US R&B Charts. Since then, His California Album has been hailed as one of Bobby’s finest albums. Four years later, in 1977, he released the long awaited follow up to His California Album, Reflections In Blue. However, like many people, I much prefer His California Album, which I’ll now tell you about.
His California Album opens with This Time I’m Gone For Good, a bluesy sounding track, which was released as a single. The track was co-written by Duke Records’ President Don Robey, using the pseudonym Deadric Malone. When the track opens, the sound is slow, dark and moody. A combination of slow, spacey drums, chiming guitars, pedestrian bass and piano accompany a raspy, vocal laden in sadness and regret from Bobby. Adding to the already hugely sad sound, are strings which gently and slowly sweep in. During the track, Bobby warns that this time, there’s no going back, he’s gone for good, his is mind made up. It’s a hugely dramatic and sad sounding track, one that’s designed to tug at your heartstrings. A combination of Bobby’s powerful, raspy and sorrowful vocal and a slow, moody arrangement that’s absolutely laden in drama, sadness and atmosphere, make this a fantastic track to open the album.
Van Morrison cowrote Up and Down World with Deadric Malone, a much faster track than the opening track, with a country soul sound and just a hint of the blues. When the track opens, with guitars and rhythm section, there’s no hint of what’s to come. The tempo is slow, slightly sparse and dark, before Bobby’s vocal enters. Here it’s a brighter sounding vocal, accompanied by a much more upbeat and melodic sounding arrangement. This is thanks to an arrangement that swings along, with bright, shimmering chiming guitars, blazing horns, an atmospheric organ and a faster rhythm section who get a groove going that drives the track along. Add to that a throaty, happier sounding vocal from Bobby and some good lyrics. By the track’s end, it’s a very different sounding track from the opening track, but one with an equally good vocal and arrangement.
It’s Not the Spotlight is a track that’s been covered by many people, and over the years, I’ve heard many of these versions. However, this is my favorite versions of the song, and may even be the definitive version. He seems to bring the lyrics to life, and together with Michael Omartian’s arrangement, makes the track his own. Bright chiming guitars open the track, before the rhythm section and piano combine. They’ve created the perfect backdrop for Bobby’s raspy, passionate vocal which is accompanied by some subtle, hugely soulful backing vocalists. A Hammond organ and brass section enter, a combination that seems to add further atmosphere and drama to the track. Horns bray and blaze, while the rhythm section keep the tempo slow, while Bobby’s heartfelt, drama laden vocal takes centre-stage. Over four minutes, Bobby injects passion, drama and soul into Gerry Goffin and Barry Goldberg’s lyrics, and in the process claims the song as his own. Forget about the rest, Bobby’s version is the best. Four minutes of the most passionate and soulful music you could hope to hear.
Many of the tracks on the album will be familiar to many people, as quite a few of them have been covered by other people. This is certainly true of (If Loving You Is Wrong) I Don’t Want To Be Right, another track where Bobby delivers a version that’s almost peerless. The lyrics are heartbreakingly sad, delivered with a mixture of despair, sadness and regret. There’s a melancholy sound and feel to the arrangement from the opening bars, when spacey guitars soar slowly, while the rhythm and string sections combine with a piano that emanates sadness and despair. When Bobby sings, his vocal is slow, full of desperation, sadness and regret at the situation he’s found himself in. The lyrics are about a married man having an affair with a young, single woman and all the problems and emotions this scenario creates. As if the arrangement isn’t already drenched in sadness, a Hammond organ enters, somehow managing to increase the level of desperation and despondency even more. Together with slow, metronomic drums, piano and the lushest of sweeping strings, the arrangement is one of the best on the albums. So is Bobby’s heartfelt, gut wrenchingly sad vocal. Taken together, it’s a potent combination, resulting in my favorite track on the album. Again, forget the rest, Bobby’s version is the best.
Goin’ Down Slow has a slow, bluesy feel, with the introduction having a lovely repetitive feel. A piano plays, finds a great atmospheric and dramatic groove, and decides to exploit it fully. It provides a building block for both the band and Bobby. The rhythm section, play slowly and thoughtfully, the bass dark, deep and moody the drums crisp and metronomic, before a funky guitar enters. Together with a restrained, equally thoughtful vocal from Bobby, that like the arrangement, opens up and grows in power. By now the arrangement has been given an injection in funk, with soaring screaming guitars and braying horns combining with an atmospheric, funk laden Hammond organ and rhythm section. Backing vocalists joyfully, rejoice, accompanying Bobby’s vocal. All the time, that lovely repetitive groove is present, providing the basis for a brilliantly, funky arrangement, made all the better by Bobby’s powerful and passionate vocal.
By now, it’s as if someone has flipped a switch and the album has been transformed into a combination of R&B and funk, which continues on the joyously sounding The Right Place At the Right Time, which is just three minutes of feel-good music. Chiming, melodic guitars, rhythm section and grand, soaring horns unite before Bobby’s raspy, good time vocal enters. Horns rasp, as his voice soars joyfully, accompanied by equally joyful and soulful backing vocalists. As Bobby sings, he offers some good advice, telling you no-one will give you anything, you’ve to “plan, plot and scheme”, and most of all, “be in the right place at the right time.” Meanwhile, the track goes from strength to strength, a catchy, joyous and upbeat sounding track, thanks to Bobby and some of LA’s finest session musicians. Quite simply, an outstanding track.
Help Me Through the Day has a bright, spacey opening, that sees guitars slow and thoughtful sounding, shimmer and soar. Meanwhile piano and rhythm section combine to slow things down, and in the process, transform the arrangement to a much more thoughtful, slight darker sound, tinged in sadness and regret. When Bobby’s vocal enters, his melancholy, rueful, sometimes pleading vocal, is a perfect match for the arrangement. He quickly, becomes almost desperate, struggling to make it through the day, pleading for help and maybe, salvation. This he does against a backdrop that’s slow, laden in atmosphere and sadness. Chiming guitars, sweeping lush strings, piano and slowed down rhythm section provide inspiration for Bobby, whose throaty, raspy vocal soars, heartbroken. Here, he really pulls out an excellent performance, so much so, you feel he’s been here, lived the song. However, without such a great arrangement, this song wouldn’t be half as good. Such an outstanding arrangement really lifts the track, making it one of the album’s highlights.
Duke Records’ President, Don Robey, using the pseudonym Deadric Malone, wrote Where My Went, one of four songs he either wrote or cowrote. The other song he wrote, The Right Place At the Right Time, was an outstanding track, so hopefully, this track will be just as good. Straight away, horns bray, while the rhythm section, organ and guitar combine, to produce an arrangement that’s bright, upbeat and fast moving. When Bobby sings, his voice isn’t as loud or powerful, and seems slightly restrained. There are similarities with Malone’s other track. In both cases, the lyrics seem a paean to the work ethic, which he’s obviously a big believer in, and admirer of. However, they’re neither as catchy, nor flow as naturally. Instead, they’re slightly contrived and labored. Bobby however, does his best, delivering them with enthusiasm and fervor. Meanwhile, the fuller arrangement is joyful, with blazing, joyous horns, driving rhythm section, piano and chiming guitars, combining masterfully. Sadly, such a brilliant arrangement is let down by a song that’s slightly weak. Although it’s not a bad song, it’s neither up to the standard of other tracks on the album, nor one of Malone’s best songs.
Friday the 13th Child, has a slow, atmospheric and thoughtful opening. The rhythm section, swooning guitars, piano and strings combine to accompany Bobby’s vocal which is laden with drama, as he gives a heartfelt delivery of the lyrics. His voice rises and falls, that by now familiar throaty, rasp ever present. However, again the lyrics which are full of sadness and emotion, have a somewhat contrived sound, as if the writer has tried too hard to make this a hugely moving track. Again, Bobby throws himself into the lyrics, sparing nothing. Meanwhile, the slow dramatic arrangement is full of swooning guitars, slow, sweeping strings, gentle piano and pedestrian rhythm section. This is a quite beautiful and emotional sound, and when combined with Bobby’s hugely heartfelt and passionate vocal works well. It’s just a pity that the lyrics have a slightly contrived sound. Having said that, like the previous song, it isn’t a bad song, it’s just not up to the standard of other track on the album.
Bobby closes His California Album with I’ve Got To Use My imagination, another of Gerry Goffin and Barry Goldberg’s songs. This is very much a return to form for Bobby and a much better song, from two great songwriters. Straight away, the sound is dark and dramatic, thanks to guitars and rhythm section combining, before Bobby’s powerful voice enters. Quickly, the arrangement grows, becoming hugely dramatic, including a wailing, atmospheric Hammond organ, chiming guitars and a throaty vocal, laden with emotion from Bobby. This is a song that suits his voice, good strong lyrics, well written and featuring an excellent arrangement from arranger Michael Omartian and producer Steve Barri. Horns cut in, blazing, upping the drama and atmosphere, while Bobby howls, really forcing his vocal, not holding back, as he sings about his woman leaving him, and the bad place he’s in. Later in the track there’s an excellent shimmering and chiming guitar solo. When it’s rejoins the rest of the arrangement, it’s like the missing part in a jigsaw, suddenly whole. By the end of the song, this great track seems like a fitting way to end the album, thanks to an outstanding heartfelt and passionate vocal from Bobby, and a brilliant blues laden, arrangement.
His California Album was a return to form for Bobby “Blue” Bland. Having turned his personal life round in 1971, he turned his career round in 1973. For the first time in nearly ten years, his album charted, spending nineteen weeks in the US Billboard 200. Suddenly, he had a critically acclaimed and commercially successful album on his hands. Thirty-eight years later, the album has a timeless quality, like all good music has. On the album are some fantastic songs, brilliantly played by the cream of Las Angeles’ musicians and sung with a combination of passion, sadness and joy by Bobby. Both arranger Michael Omartian and producer Steve Barri played a huge part in the album’s success, with the arrangements and production perfect for the songs. It allowed people to hear the best of Bobby, who after too long in the doldrums was back. It’s just a shame the “follow up” album took four years to be recorded and released. If it had been out sooner, it would’ve allowed Bobby to build on the momentum of His California Album, and maybe, helped him to revisit the heights of his earlier career on the Chess and Duke labels. However, His California Album is a great reminder of a return to form from one of the real legends of music, Bobby “Blue” Bland. Standout Tracks: This Time I’m Gone For Good, It’s Not the Spotlight, (If Loving You Is Wrong) I Don’t Want To Be Right and I’ve Got To Use My imagination.
BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.
|
CHIC-CHIC.
CHIC-CHIC.
Back in 1977, when I was growing up, one of the many sounds that immediately, grabbed my attention, was Chic. Not for me the angry, desolate sound of punk, that to me was a depressing, ugly sound, the anathema of what music should sound like. Instead, I’d become accustomed to The Sound of Philadelphia, soul music, disco music and now, Chic. I first became aware of their music when they released their eponymous album, Chic on Atlantic Records. This to me, was what music should sound like, a fusion of the best of R&B and the nascent disco sound that suddenly, was sweeping the US and UK.
Their debut album Chic was released in December 1977, and like myself, it was a sound that many people fell in love with. On the album’s release, it reached number twenty-seven in the US Billboard 200 and number twelve in the US R&B Charts, selling over half a million copies, and being certified gold. The singles released from the album fared just as well. Dance, Dance Dance (Yowsah, Yowsah, Yowsah) which was originally released on Buddha Records, reached number six in the US Hot 100, US R&B Charts and here in the UK Singles charts. Everybody Dance the other single released from the album, reached number thirty-eight in the US Hot 100, twelve in the US R&B Charts and number nine in the UK singles charts. Quickly, the phenomenon that was Chic became one of the most popular groups of the late seventies and beyond. Now nearly thirty-four years after guitarist Niles Rodgers and bassist Bernard Edwards produced Chic’s debut album, their music is held in the highest esteem, proving hugely influential to later generations of musicians. Although there are just seven songs on Chic, they’re seven great songs, which I’ll now tell you about.
Chic opens with their debut single Dance, Dance Dance (Yowsah, Yowsah, Yowsah), which reached number one in the US dance play charts and features a young Luther Vandross singing backing vocalists. Many people have puzzled over the meaning of the phrase Yowsah, Yowsah, Yowsah, which was a phrase popularized by Beb Bernie, an American jazz violinist and radio star of the twenties. It was later used in They Shoot Horses, Don’t They? a 1969 film about a dance marathon during the depression. Niles opens the track with a furiously, fast and funky bass, with Bernard’s chiming, shimmering guitar accompanying drums and percussion before a male vocal enters. When it does, things move up a gear, before Alfa and Norma Jean help increase the joyful sound that’s already unfolding, with their sweet, melodic voices. It’s a combination of funk laden rhythm section, lush, sweeping strings and some fast, accurate chiming guitar playing from Bernard. Braying horns, keyboards, percussion and handclaps punctuate the track, the horns a contrast to lushness of the strings. As the track progresses, it just seems to get better and better, the sound a mixture of funk, soul and disco. One thing that’s noticeable is just how tight and talented a band Chic are. Their hook laden, joyous, feel-good sound that’s unfolding, is just irresistible, and it’s hard to believe that this is a debut album I’m listening to. It has such a polished sound, no rough edges, just the smoothest production, with the sweetest sound you could wish to hear, lasting eight and a half magnificent minutes. An absolutely brilliant way to start any album, never mind a debut album.
Sao Paulo has a very different sound to the opening track, with Chic seemingly trying to recreate the laid back sound and atmosphere of an exotic, warm and beautiful faraway place of Brazil. The sound of crashing waves, acoustic guitar, percussion and piano open this instrumental track, before the rhythm section enter. After that, a subtle flute plays, against the mid-tempo arrangement of strings, piano and rhythm section, with occasional, brief bursts of percussion. There’s a real jazz funk and Latin influence to the track, that features sudden short dramatic peaks, before normality is resumed, the arrangement returning to a quite beautiful, gentle sound. Although, It’s a very different sound, far removed from the joyful disco sound of the opening track, but again, it allows Chic to showcase their considerable talents, majestically.
After a change of direction on the previous instrumental track Sao Paulo, You Can Get By sees Chic return to the feel-good sound of the opening track. Here, both the arrangement and vocal are just so catchy, they’re almost infectious. It’s a combination of loud, rounded drums, another funk masterclass on bass from Bernard before blazing, joyful horns and a some fast paced, chiming, shimmery guitar playing from Niles before the vocal enters. The vocal is a deep, sultry, male lead, with Alfa and Norma Jean supplementing the lead vocal, their voices high and joyous, a perfect contrast. Here, there’s some great interplay between the fast, melodic and chiming guitar and the strings, which sweep grandly and lushly. The way they’re arranged, they just feed off each other, encouraging the other to greater things. Add in some hugely funky bass playing to the mix, and you’ve the recipe for the sweetest, smoothest track, one that would grace any dancefloor, from Sao Paulo to San Francisco.
On the original album, Everybody Dance was the opening track of the second side, and was the second single released from the album. Looking back at the chart positions of the single, it seemed to be a much more popular track in the UK, reaching number nine in the singles charts, while it only reached number thirty-eight in the IS Billboard Hot 100 and twelve in the US R&B Charts. That seems strange, given how highly regarded the track is now. In 2010 the Manic Street Preachers (yawn) sampled the track on their sing (It’s Not War) Just the End of Love. Like Dance, Dance, Dance, (Yowsah, Yowsah, Yowsah), it epitomizes everything that’s good about Chic’s music. Tony Thompson’s drumming and Bernard’s bass playing is at the heart of the irresistible sound of the introduction, which defies you to keep still. Some simple, but hugely effective chord changes on piano, give way to the vocal, which to say is musical joyfulness, is an underestimation. Alfa and Norma Jean produce some of their best vocals on the album, while the strings sweep lushly, as the group encourage you to dance and clap your hands. It really is almost impossible not to get swept away by the music. Midway through the track, Bernard decides to give yet another bass masterclass. His playing is furiously, fast and frantically funky. From there until the end, a musical masterpiece unfolds, thanks to a combination of one of the best rhythm sections of the past forty years, some of the lushest, sweeping, strings, subtle percussion, chimimg guitars and joyful vocals. Together, they make this easily, not just one of the album’s highlights, but one of the highlights of Chic’s illustrious career.
Est-Ce Que C’est Chic is a song that tests my long forgotten French to its limits, almost. Now I wish I’d payed closer attention, instead of staring out the window disinterestedly. However, one thing I do recognize is good music, which this is. The tempo is quick, with the rhythm section, percussion, chiming guitars and subtle strings combining to produce a fast paced track, funk drenched track. When the vocal enters, there’s an effective contrast between softly spoken, thoughtful lead vocal and an almost cold, fatter of fact backing vocal, which seems almost a dismissiveness, and air of tension. Meanwhile, this enchanting scenario is played out against an arrangement that’s melodic, full of the trademark Chic sounds. A combination of unusually, understated, chiming guitars, grand, sweeping strings and Tony Thompson and Bernard Rodgers, funk laden rhythm section. This combination leads to a quite different sounding track, but one that’s quite enchanting given the tension between lead and backing vocalists.
When Falling In Love With You opens the sound is one that immediately, you recognize to be full of emotion and passion. The tempo is slower, the sound tender and gentle, thanks to the combination of keyboards, subtle rhythm section and slow, expansive strings, with a piano accompanying Alfa and Norma Jean’s vocal. Their voices are sweet, gentle and full of emotion, as an utterly beautiful, slow arrangement unfolds gradually, all the while getting so much better. What makes this such is a great track is the way the arrangement has a much more subtle sound, with the rhythm section and guitars taking a back seat, and the strings and piano combining to produce a sound that’s melodic, full of emotion and has the ability to tug on your heartstrings. When you add in the sweet and tender vocal, that’s just the finishing touch to what is a very beautiful, gentle love song.
Chic closes with Strike Up the Band, a track that features some great interplay between Niles on guitar and Bernard on bass. Here, they feed off each other, almost daring the other to take things further. The track opens with blazing horns, announcing the arrival of the rhythm section and guitar, which are accompanied by a flute. It’s here that Bernard and Niles combine magnificently, with almost daring do, both egging the other on. Bernard and Niles demonstrate their wide array of talents on bass and guitar brilliantly, their playing fast, accurately and full of funk. Percussion fills out the sound, while strings sweep in, horns bray and blaze, as a flute provides another contrasting sound. Rounding off this track are vocals that are fast and joyous, as they soar in unison. When all this is combined, you’ve a fast paced, track that has a joyous sound, thanks to a majestic musical duel featuring Niles and Bernard, ably assisted by the rest of the band and some equally joyful vocals.
Every time I listen to Chic, I find it hard to believe that this was their debut album. The music is of the highest standard, both the songwriting, playing and production on each track. Bernard Edwards and Niles Rodgers were almost musical geniuses, both hugely talented musicians, songwriters, arrangers and producers. Together, they recorded, wrote and produced one of the strongest debut albums of the seventies. On that album were two disco classics, Dance, Dance Dance (Yowsah, Yowsah, Yowsah) and Everybody Dance. These are two of the greatest disco tracks ever, and are both tracks that sound just as good today, as they sounded in 1977. This was just the first of a series of hugely successful albums with C’est Chic in 1978 and Risque in 1979 building on the success of their debut album. Both of these albums are excellent, featuring some brilliant music, and are albums I’ve written about before. However, little did Chic know when they released their debut album, how popular and influential a group they would become. Since the release of Chic in November 1977, their music is just as popular and still inspires new generations of musicians. If you’ve never heard this album, it’s now available as part of a five disc box set entitled Chic Original Album Series, and features their first five albums. So why not treat yourself, and Dance, Dance, Dance. Standout Tracks: Dance, Dance Dance (Yowsah, Yowsah, Yowsah), You Can Get By, Everybody Dance and Strike Up the Band.
CHIC-CHIC.
HAROLD MELVIN AND THE BLUENOTES-BLACK AND BLUE.
HAROLD MELVIN AND THE BLUENOTES-BLACK AND BLUE.
One of my favorite labels of all time is the Philadelphia International label, founded by Gamble and Huff in 1971. For many years, Gamble and Huff sprinkled their magic on many artists that went on to become soul legends. These included Billy Paul, The O’Jays, Lou Rawls, Teddy Pendergrass, The Three Degrees, Archie Bell and The Drells and of course, Harold Melvin and The Bluenotes. Of all the artists on Philadelphia International, one of my favorites has always been Harold Melvin and The Bluenotes. Between 1972 and 1975 they recorded four albums for Philadelphia International. The music they released during that period was among the best they ever recorded, and among some of the best music released on the label.
Their debut album was originally titled I Miss You, but was changed to Harold Melvin and The Bluenotes. It was released in August 1972 reaching number four in the US R&B Charts and number fifty-three in the US Billboard 200. This album featured one of their biggest hit singles If You Don’t Know Me By Now, which reached number three in the US Billboard Hot 100 singles’ charts and gave them their first number one US US R&B single.
Their follow up album, Black and Blue, which this article is about, was released in September 1973, reaching number five in the US R&B Charts and fifty-seven in the US Billboard 200. Again, the album provided the group with a top ten hit, with The Love I Lost (Part 1) reaching number seven in the US Billboard Hot 100 singles’ charts and reached number one in the R&B Charts. Since its release, Black and Blue is recognized as one of the group’s finest albums, although it wasn’t one of their most successful albums.
The group’s third album To Be True, released in February 1975, reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts. Hope That We Can Be Together Soon, which featured Sharon Paige, and was the third single released from the album, reached number one in the US R&B Charts. So commercially successful was the album, that it was certified gold. After three albums, the group had become one of Philadelphia International’s most successful albums, giving the group the success their music deserved.
Wake Up Everybody, which I’ve written about before, was released in November 1975. This was both the final album the group released on Philadelphia International and the last album to feature Teddy Pendergrass as lead singer. After this album, the group signed a contract with ABC Records, but never achieved the same success. Teddy Pendergrass however, went from strength to strength, becoming a hugely successful solo artist on Philadelphia International. When Wake Up Everybody was released, it was a huge commercial success, providing the group with their most successful album. It reached number nine n the US Billboard 200 and number one in the US R&B Charts, being certified platinum, selling over one million copies. Once the group left Philadelphia International, there were various changes in personnel, but the five albums they subsequently released failed to achieve the success that their four albums on Philadelphia International did. All of this was still to come, when the group released their second album Black and Blue, which I’ll now tell you about.
Black and Blue opens with Harold Melvin and The Bluenotes singing a short cover version of Cabaret lasting just under two minutes. It’s a strange way to open the album, the group resorting to an almost vaudevillian opening to the album, with the group covering Kender and Ebb’s famous song. The vaudevillian influence extends to an introduction that features the rhythm and brass section combining energetically before the group sing tight vocal harmonies. Although quite different to what you’d expect on an album by Harold Melvin and The Bluenotes, they really make the song swing, injecting energy and happiness into the song. Mind you, when I first heard the album years ago, I couldn’t quite believe what I was hearing. Since then, I’ve wondered about why this track was chosen to open the album. You could say it certainly grabs your attention, making you listen intently, wondering what will happen next. Conversely, you could argue that it spoils the flow of the rest of the album. Personally, every time I hear the track it makes me smile, and is a perfect appetizer for the rest of the album.
After the amuse-bouche of Cabaret, Harold Melvin and The Bluenotes return to what they do best, singing some of the sweetest soul music. Black and Blue moves up a gear with The Love I Lost, a song that was originally meant to be recorded as a ballad. Instead Leon Gamble the cowriter and producer asked the group to speed the song up, sing it with a swagger. This transformed the track into a track full of sadness, sung with a swagger at a quicker tempo, and in the process reached number seven in the US Billboard Hot 100 singles’ charts and number one in the R&B Charts when it was released as a single. Leon Gamble’s decision to transform the track from a ballad was a masterstroke. So was his decision to open the track with keyboards and chiming guitars combining as the track opens, before the drums and luscious strings sweep in. This provides the perfect backdrop for Teddy, as he delivers some hugely sad lyrics about a relationship gone wrong. Meanwhile, the rest of the group compliment his lead vocal with their sweet, tight vocal harmonies. While all of this is taking place, the arrangement is dramatic, strings sweeping, while drums and blazing horns punctuate the sound. MFSB, Philadelphia International’s house band surpass themselves, producing one of the most memorable arrangements ever heard on an album by Harold Melvin and The Bluenotes. Quite simply, this is an absolutely fantastic track, one of the best ever singles released on Philadelphia International.
It All Depends On You has what can only be decided as a hugely dramatic, almost grandiose introduction, with stirring, rumbling drums, a grand, drama laden piano and horns that gradually sweep in. Their sound promises, then delivers drama. It’s as if MFSB were preparing for the imminent arrival of Teddy Pendergrass and his lead vocal. When it arrives, you wonder whether it’ll live up to the expectation. Thankfully, it does, with Teddy delivering the lyrics with a mixture of passion and pleas, as he testifies, telling his partner that their future depends on her. Like the previous track, the rest of the band produce some beautiful tight vocal harmonies, that are a perfect accompaniment to Teddy’s vocal. Such an emotional and passionate arrangement deserves an equally outstanding arrangement. Again, this is the case, with an arrangement that’s emotionally charged and drenched in drama. Much of this is because of the way Gamble and Huff arranged the drums, piano, horns and strings to maximise both the atmosphere and drama, in such a way that brings out the best in both the lyrics and Teddy’s vocal. As the track ends, you can’t help but be moved by both Teddy’s vocal and the lyrics, made all the better by such an outstanding arrangement.
Gamble and Huff cowrote five of the tracks on Black and Blue, including Concentrate On You a much slower track, which has brief, bursts of drama that punctuate the track, highlighting both the lyrics and a hugely emotional vocal, laden in sadness and regret. When the track opens, a deep, moody bass is accompanied by slow sweeping strings and dramatic bursts of horns and drums before the group sing some sad, vocal harmonies. It’s only then that Teddy’s vocal enters, and straight away, his voice is full of sadness and regret, ruing the bad times, as he hopes his relationship will survive. Throughout the track, the interplay between Teddy and the rest of the band works really well, with the Blue Notes lovely subtle harmonies, the perfect foil for Teddy powerful, passionate, pleas. They’re interrupted by dramatic bursts of drums and horns, which each time, you believe will transform into a brighter, happier sound. This never happens, but the mixture of the sadness and drama of the arrangement and the passionate, pleas of Teddy make this a compelling, dramatic and ultimately beautiful track, one that’s quite moving and absolutely excellent.
Harold Melvin and The Bluenotes inject some bravado and humour into the proceedings on Satisfaction Guaranteed (Or Take Your Love Back). Here, Teddy transformed into lover man number one, gives a swaggering, boastful vocal full of bravado. Strangely, when the track was released as a single, it only reached number fifty-eight in the US Billboard Hot 100 and number six in the US R&B Charts. Reflecting Teddy’s bravado and swagger is the stirring, drama laden fast paced introduction, a melange of strings, blazing horns, piano and driving horns. Teddy grunts, before the Blue Notes softly sing, before making way for Teddy. He gives of an aura of confidence, self assuredness, as he delivers the lyrics with a confident swagger. Meanwhile, the arrangement is melodic, catchy, with a booming, fast and accurate bass accompanied by grand, sweeping lush horns while piano, horns and drums are responsible for punctuating the track with drama. Quite simply, it’s an irresistible sound, with the quicker tempo, fuller arrangement and of course, Teddy’s vocal, one part bravado, one part levity. This track like The Love I Lost, is easily one of the album’s best tracks.
A funk laden bass, metronomic drums and sweeping, stirring strings combine before chiming, shimmering guitars accompany braying horns as Is There A Place For Me begins. It’s only then that a pessimistic Teddy, reflects on how he got himself into the mess he’s in. The answer is in the lyrics, four time married, imagine the alimony! His voice is still powerful, but full of regret and sadness, while the rest of the group sing loud, repetitive backing vocals which almost plead. This works well, as does the fulsome arrangement. By now, it’s settled down somewhat, sweeping along, with the rhythm section and those chiming guitars, accompanied by dramatic strings, an atmospheric Hammond organ and interjections from the horn sections. As if this isn’t enough, a pleading, sorrowful Teddy, is accompanied by keyboards, a soaring, screaming, muted guitar, which all adds even more atmosphere and drama. Between the rueful, down at heart Teddy, and a rich, complex and sweeping arrangement, courtesy Gamble and Huff, this is a melodramatic and magnificent track, truly unmistakably Harold Melvin and The Blue Notes.
There’s a change in style and tempo on I’m Weak For You, which was the third single released from the album. Again, mysteriously, the single wasn’t successful, failing to chart in the US Billboard Hot 100 and only reaching number eighty-seven in the US R&B Charts. This puzzles me, because although it’s quite different from other tracks on the album, both the vocal and arrangement are excellent. The track has an old fashioned jazz influenced sound, with keyboards, rhythm section, guitars and horns gently playing, as the track opens. As if signaling that something special is about to unfold, the horns interject, before the group sing some melodic, sweet vocals, before giving way to Teddy’s lead vocal. His vocal veers from a softer, considered and thoughtful to a louder, passionate and pleading style. Together, he and the Blue Notes combine brilliantly, singing the track in a style that brings to mind smoke filled jazz clubs, late at night, where mixture of excitement and danger mingles in the air. When combined with the horn drenched arrangement, that’s punctuated by drama courtesy of horns and drums, you’ve the recipe for a great track, one that’s laden in atmosphere, emotion and drama.
Black and Blue closes with I’m Coming Home Tomorrow, a track which had a poignancy for the soldiers who were returning from Vietnam. There they’d fought in yet another pointless war, where lives were lost needlessly on both sides. This track spoke to them, and the slow, moody and sad introduction seems even more poignant. It’s a combination of slow, dark bass, keyboards, strings bathed in sadness and slow, thoughtful drums that open the track. After that the group sing tight, thoughtful vocal harmonies, before the track unfolds to present a much more joyful sound, with both Teddy and the Blue Notes, singing about the happiness of returning home, never to leave again. Similarly, the arrangement combines joy and drama, strings sweeping lushly, the rhythm and horns combining perfectly to produce a sound that’s dramatic, giving way to a joyfulness. Later, Teddy slows things way down, half-speaking, half-singing the vocal, injecting a mixture or relief, joy and passion into the lyrics, increasing the sense of drama and atmosphere. By the end of this really moving and beautiful song, that’s a mixture of sadness and joy, I’ve always felt that this was quite a poignant way to end the album, given what was happening in the US then.
Black and Blue is one of my favorite albums by Harold Melvin and The Blue Notes. It features some wonderful music, with the group at their very best. From the opening bars of Cabaret, to the last not of I’m Coming Home Tomorrow, it’s constant quality. There’s no let up, just one great song after another. From the vaudevillian, amuse-bouche of Cabaret, to the sadness and swagger of The Love I Lost, to the bravado and humor of Satisfaction Guaranteed (Or Take Your Love Back), it’s just one great song after the other. That’s neither forgetting the pessimism and ruefulness of Is There A Place For Me nor the poignancy of I’m Coming Home Tomorrow. In the space of just eight tracks, Harold Melvin and The Blue Notes will have you laughing, singing and crying with some hugely emotional and joyful music. Strangely, this album didn’t do as well as the next two albums Harold Melvin and The Blue Notes released. To Be True reached twenty-six in the US Billboard 200, while Wake Up Everybody reached number nine in the US Billboard 200. These albums were certified gold and platinum respectively. Regardless of that, Black and Blue is as good as these two albums, and is an album that anyone who loves soul music will enjoy. The best description of the music on Philadelphia International Records came from Fred Wesley, the trombone played in James Brown’s band. He called the music “funk with a bow-tie,” a fitting description of Black and Blue, a brilliant album from Harold Melvin and The Blue Notes. Standout Tracks: The Love I Lost, It All Depends On You, Satisfaction Guaranteed (Or Take Your Love Back) and Is There A Place For Me.
HAROLD MELVIN AND THE BLUENOTES-BLACK AND BLUE.
JAMES BROWN-THE PAYBACK.
JAMES BROWN-THE PAYBACK.
During his career, The Godfather of Funk, James Brown produced many albums, hence the nickname “the hardest working man in show business,” but The Payback his 1973 album is one of the high points in his long and illustrious career. It’s no exaggeration to say, that nowadays, The Payback is perceived by critics as one of the seminal funk albums. This is a hugely important funk album, one that came at an important point in James Brown’s career. The Payback was released in December 1973, at a time when James Brown’s career was going through something of a lull commercially. His music wasn’t selling in the vast quantities that it previously had. That however, doesn’t mean that the music he was making wasn’t of the highest quality, it was. Between 1965 and 1980, James Brown released numerous great albums. For example, the year before, 1972, he’d released the soundtrack to the blaxploitation film Black Caesar, which even today, is recognized as one of the best blaxploitation soundtracks, up there with Shaft and Superfly. The Payback was originally meant to be a blaxploitation soundtrack but was rejected as not being funky enough!
In 1973, James Brown had been commissioned to provide the soundtrack to the blaxploitation film Hell Up In Harlem. Between February and October 1973, James spent time in the recording studio recording eight tracks for the film. This wasn’t the first blaxploitation film he’d been ask to record the soundtrack for. The previous year, he’d recorded the soundtrack to Black Caesar, so knew what was required for this type of film. However, when the film’s director Larry Cohen heard the music, he rejected it for not being funky enough. After Cohen’s rejection, James decided to release the album himself, giving it the title The Payback. On it’s release, fans would be the gauge of the album’s funkiness. Would they side with Cohen or the man known as the Godfather of Funk?
When the album was released, it reached number one in the US Soul album charts and entered the top forty, reaching number thirty-four in the US Billboard 100. The revenge themed title track The Payback gave James a number one hit in the US R&B Charts. Why did the album do so well though? Well, if you listen carefully to the lyrics, this album isn’t just funk for funks sake, it’s James Brown at his most political. Here the lyrics are full of social awareness, with James sticking it to the man good and proper. Combine that with some of his trademark funky grooves and some softer soul tracks, and you’ve an irresistible combination, eight tracks of vintage James Brown which I’ll now tell you about.
The Payback opens with the revenge themed title track, which has long been a favorite source of samples for hip hop artists. When the track literally bursts brightly into life. It’s tight, booming drums, the funkiest of bass lines courtesy of Fred Thomas and braying horns that accompany James. He sings about taking revenge against a man who betrayed him, ripped him off, stealing his money and more importantly, his woman. James swears revenge, while a melange of funk laden chiming, shimmering guitars combine with the funkiest rhythm section in music. Horns blaze in anger, as James angrily yelps, screams and hollers against a backdrop of the some hugely memorable funky music and shrieking, sometimes joyous sounding female backing vocalists. Later, wah wah guitars are unleashed, but back in1973, this was unusual in James’ music. During the track, a pared down, open instrumental arrangement is the backdrop for James, and it works brilliantly. A combination of an angry sounding James Brown and his brilliantly funky band, produce a track that’s funk personified, but somehow wasn’t funky enough for Larry Cohen.
After the epic opening track The Payback, Doing the Best I Can is a much more mellow affair altogether, giving the listener the opportunity to draw breath. Here, it’s a soul influenced track, featuring a thoughtful, reflective vocal from James Brown, as his character ponders where he is in his life. Gone are the thoughts of revenge, now he’s just having to get by, the best he can. The arrangement has a similarly thoughtful, much more subtle sound. A combination of slow chiming guitars, shimmer, before subtle wah wah guitars enter, before James thoughtful, introspective vocal enters. He’s broken hearted, down on his luck, as lush strings sweep behind him, horns gently interject while guitars and rhythm section play with a subtlety. Female backing vocalists soulfully accompany James’ hugely sad, thoughtful vocal. The arrangement has a lovely repetitive sound, as his voice soars, a mixture power, passion and regret. Towards the end of track Fred Wesley plays an outstanding solo on trombone, which seems a fitting end to this masterpiece. For seven and a half minutes, James, his band and the backing vocals produce a fantastic track laden in drama, atmosphere and most importantly, soul.
Take Some…Leave Some sees James return to the funk of the opening track, with wah wah guitars playing slowly, before horns blaze brightly announcing the arrival of the Godfather of Funk. When James sings, his voice is louder, than the previous track, with some of the anger and frustration of the previous tracks apparent. Meanwhile, the arrangement is growing with both the rhythm and brass sections producing a funk masterclass. Fred Wesley and the rest of the rhythm section produce bright, dramatic bursts of funk music, helped by the rhythm section who seem to be naturally funky. James by now is sticking it to the man, the hustlers, schemers and dreamers who according to James, are either on the make, or on the take. As if agreeing with James’ sentiments, the band somehow, up their game, the horns a mixture of energy, passion and anger, while the drums crash and boom, and the bass hits funk overload. A mixture of trademark yelps, screams, shrieks and screams from James, seems just the icing on the cake, as the track ends. By then, you can’t help being impressed by the energy and passion James Brown put into his music. He almost seemed to live the music, and with one of the tightest and funkiest bands ever, he produces an excellent track laden in anger, frustration and passion.
When Shoot Your Shot opens, it’s a frantic tempo with guitars chiming, shimmering and wah wah-ing, accompanied by an equally fast paced, hugely funky rhythm section and short, repetitive bursts from the brass section. Meanwhile, James vocal is just as angry and full of frustration as he sings about the disasters that have befallen him, the loss of his stash of cash and woman, being the source of his angst. As usual, he dispenses his trademark, screams yelps and grunts while his band come into their own. Their performance features a Hammond organ, which adds to the blaxploitation sound and feel. The horns surpass themselves, producing a sound that mixes funk and jazz peerlessly, while the rhythm section seem to recreate what sounds like funky race. By the finishing tape, Fred Thomas frantically, fast bass seems to out-funk John “Jabo” Starks on drums, but only by a nose. It’s a close run thing, but the horns seems to have headed off at a similar breakneck pace, blazing furiously, their sound matching James’ angst and anger. When the track ends, you feel exhausted having tried to keep up with this furiously, frantically fast funk music that’s absolutely brilliant.
Forever Suffering has much in common with Doing the Best I Can, in that it’s a much slower, subtle sounding track, with a pared back arrangement. When the track opens, it’s just gently chiming guitars, slow spacious drums and a meandering bass that accompanies James. His vocal is much more gentle and thoughtful, full of regret and sadness. Gone is the anger and frustration, replaced by a much more reflective James. Horns subtly interject, while hugely sweet and soulful backing vocalists sweep in, accompanying James. Occasionally, he allows himself one of his trademark yelps and screams as his voice grows in strength, as he rues the one mistake he’s made. By now, he’s almost pleading for a second chance, for forgiveness. The contrast between his passionate pleas and the soulful backing vocalists really helps the track, acting as a perfect foil for a now desperate James. When the track ends, you just can’t help but fail to be moved by the passionate pleas of James. Taken with this understated, pared back arrangement, it’s a compelling and unmissable track, one of the album’s highlights.
After the subtlety and passion of Forever Suffering, Time Is Running Out Fast see things change quite drastically. Straight away, the track grabs your attention, when you hear fast paced, crisp drums accompanied by percussion and bursts of dialogue. After that, a funk drenched bass and baying, blazing horns enter, quickly turning funkometer to eleven. Percussion jangles, burst of dialogue break out of the arrangement, that’s driven along by horns and the rhythm section. Later in the track, some funky wahwah guitars combine with the horns and rhythm section, helping take the track on the longest funk journey on the album, nearly thirteen glorious minutes. During the track James Brown takes a break from vocal duties, content to let his band take care of business. This they do brilliantly, with the track improving the longer it goes on. Shrieking, desperate horns, a funk ridden bass and quick, metronomic drums demonstrate that all isn’t lost without the Godfather of Funk. A combination of horns, rhythm section and guitars settle into a groove, seemingly feeding off each other, willing each other to take things further, improve an already excellent track. Somehow, they manage to achieve this, and after nearly thirteen masterful minutes, you almost expect the band to be given a well deserved round of applause as the track ends. If you either like or love funk music, this track is unmissable, a must have for you.
One of the best known tracks on the album is Stone To the Bone. A few years ago, I heard an album by some wannabe funkateers and they covered this tracks. Their version was turgid at best, and thankfully, they sunk without trace. There is only one version of this track worth hearing, James Brown’s. James give a few of his trademark shouts and shrieks against a backdrop of short burst of dramatic drums and horns, before the drums combine with the bass for another fantastic funk workout. Similarly funky guitars chime, shimmer and reverberate while Fred Wesley and rest of the brass section drench the arrangement with their sumptuously subtle funky sound. Meanwhile, James hollers, shouts and grunts his way magnificently through one of his best know tracks. Later, the addition of a Hammond organ is a masterstroke, bringing an atmospheric sound to the track, one that works brilliantly in any blaxploitation soundtrack. Suddenly, its addition seems to transform the track, lifting it from good to great. However, it isn’t just one instrument that makes this such a great track, quite the opposite. It’s a hollering, howling James Brown and his brilliant band, who inject passion and energy into the track, making it such a funk masterpiece.
The Payback closes with Mind Power another track that has a fast and furious opening, a combination of fast paced, funk laden guitar, atmospheric rhythm section and subtle percussion, before James almost raps the lyrics. When he does, he’s venting his fury at scheming politicians and the other people that were letting the people down. They were he says, starving, jobless and homeless, and James isn’t a happy man, letting them know this. He lines them up in his sights, blasting them with both barrels. By now the arrangement is growing, with the brass section interjecting, their sound matching James’ anger and fury. A flute plays, as the rhythm section ensure they’re not left on the sidelines, upping the ante, with a fast, furiously funky bass accompanied by quick, sharp drums. Throughout the track, James anger and resentment is palpable, he almost sneers in disgust as he spits out the lyrics. His vocal is a prototype rap, providing a template for hip hop legends Public Enemy who were huge fans of James and his music. As the track draws to its funk laden conclusion, this epic closing track seems to a fitting end to the album, as during the track, both James and his band provide a funk masterclass for wannabes and pretenders alike. However, neither will ever record twelve minutes of such memorable and magical music. Only one man can do that, James Brown, The Godfather of Funk.
Having reveled in nearly seventy-three glorious minutes of majestically, funk music, I still can’t comprehend Larry Cohen’s rejection of the music as not funky enough for his film Hell Up In Harlem. If James Brown wasn’t funky enough, then the music used during the film must be something else. Personally, of all the albums James Brown recorded through his long and illustrious career, The Payback is not just one my favorites, but one of the best. Throughout this album, James Brown and his band are at their leanest, meanest and funkiest. This is a funk masterpiece, with James and his band showing the funk wannabes and pretenders just what funk music should sound like. Here, they play with an unrivaled passion, precision and pace. Sometimes the arrangements are pared back and spartan, other times they’re fuller and funkier. All the time, James Brown is a showman and bandleader supreme. Whether snarling, growling and yelping his way through the heaviest funk tracks, tenderly singing or passionately pleading for redemption and forgiveness, he’s at his very best. That’s what makes this such an irresistible and unmissable album, one that deserves its place any self-respecting funk lover’s record collection. Standout Tracks: Doing the Best I Can, Take Some…Leave Some, Forever Suffering and Stone To the Bone.
JAMES BROWN-THE PAYBACK.
BETTYE SWANN-THE SOUL VIEW NOW.
BETTYE SWANN-THE SOUL VIEW NOW.
It never ceases to amaze me how hugely talented singers never achieve the success their talent deserves, whilst people with only a modicum of talent have long and successful careers. Like life, the music industry isn’t fair, and can be totally unforgiving. Many times, I’ve come across albums from artists from the sixties and seventies, and having listened to them, and then researched the artists history, discovered that for whatever reason, success eluded them. One such artist was Bettye Swann, a sixties soul singer blessed with an incredible voice, who recorded three great albums between 1967 and 1969.
Her debut album was Make Me Yours, released in 1967, was the title of her breakthrough single, which reached number one in the US R&B Charts and number twenty-one in the US Billboard 100. After splitting with her then manager a Louisiana’ DJ Al Scott in 1968, Bettye moved to Georgia, where she secured a contract with Capitol Records. It was on Capitol that she recorded two great albums, The Soul View Now in 1968 which reached number forty-eight in the US R&B Charts, and 1969s’ Don’t You Ever Get Tired of Hurting Me.
After leaving Capitol in 1970, Bettye signed for Atlantic Records. This wasn’t quite the dream move for Bettye with her only only having a couple of minor hits. These were Victim of A Foolish Heart in 1972, which reached number sixteen in the US R&B Charts and sixty-one in the US Billboard 100 and Today I Started Loving You Again in 1973 which reached number forty-six in the US Billboard 100. Bettye continued to record until the mid-seventies, and gave her final concert in 1980, the year her husband and manager George Barton died.
After the death of her husband and manager, she retired from the music industry aged thirty-six. It was then that Bettye decided upon a change of name and career. In a sense Bettye Swann died and Bettye Barton was born. The “newly born” Bettye Swan embarked on a career in education in Las Vegas and became a Jehovah’s Witness. Now aged sixty-seven, Bettye Swan is in poor health, suffering from a degenerative condition of the spine. Having never received royalty cheques for the recordings she made for Money Records, just a $7,000 advance, Bettye is reliant upon disability payments. This sadly is a familiar story, with many people like Bettye, being mistreated by the music industry financially. However, now that i’ve told you a little about Bettye Swann and her career, I’ll now tell you about her 1968 album The Soul View Now.
The Soul View Now opens with Don’t Touch Me which opens dramatically with drums and a blaze of horns before Bettye accompanied by a piano enters. Her voice is considered and hugely emotive as she sings the lyrics about love, accompanied by subtle backing vocalists. Meanwhile horns drench her vocal while the rhythm section and guitars help drive the song along. Regardless of the dramatic soulful arrangement, what makes the track is Bettye’s vocal. It’s considered and thoughtful, laden with emotion as she delivers the lyrics. Straight away, I’m left wondering just why, wasn’t Bettye Swann a much bigger star with a voice like this?
Like the previous track, Cover Me opens with horns bright and proud, combining with the rhythm section to announce the arrival of Bettye’s vocal. Here, her vocal starts of restrained, but full of feeling, accompanied by soulful sounding backing vocalists. They indulge in call and response with Bettye, whose voice rises and falls, full of feeling, as she brings the lyrics to life. They’re a plea for love and protection. All the while Bettye is accompanied by baying, grand horns. The arrangement is fulsome, a combination of horns, rhythm section and gentle, chiming guitars, that never once overpower Bettye’s beautiful, soulful voice. If anything, this song is even better than the previous one, thanks to the fuller, melodic arrangement, soulful backing vocalists and of course, Bettye’s emotive, pleading vocal.
Then You Can Tell Me Goodbye has a very different, much more gentle and subtle sound when the track opens. It’s just a gentle acoustic guitar solo that plays before an understated bass accompanies Bettye’s much quieter, gentle vocal. She’s accompanied by backing vocalists, whose contribution is equally gentle, even thoughtful. Rasping horns, piano and drums enter, with the horns becoming the most prominent instrument in the arrangement. Still, Bettye’s vocal is gentle, verging on serene, which makes you focus even more on it. Thankfully, the baying horns are kept on the leash, and never allowed to overpower either the rest of the arrangement or Bettye’s vocal. Although quite different in style from the two preceding tracks, Bettye’s gentle vocal and the equally subtle arrangement is both hugely powerful and really effective, making this an irresistible slice of soul.
Again the style changes on Words a track that’s been covered by a multitude of artists over the years. Here, Bettye gives the track a new twist when horns interject, guitar chime and shimmer and rhythm section and combine with Bettye. Straight away, two things are noticeable. Firstly, her voice is louder and stronger, and secondly, the song doesn’t suit either her voice or the arrangement. Bettye is a soul singer supreme, Words is a middle of the road track. However, against the odds, Bettye delivers the lyrics really well. The problem with the arrangement is that neither does song doesn’t work as a soul song nor do the rasping horns suit the arrangement. They’re too brief and rounded. By the end of the track, Bettye has done here best, and although not a bad track, it’s one that just doesn’t suit her voice or sung in a soul style.
What was the closing track on the first side of the album, I’m Lonely For You, is a much better track than the previous one. The tempo is quicker, and is best described as a track that wouldn’t be out of place on a Northern Soul compilation. When the track opens it’s drums, horns and percussion that combine with Bettye’s vocal. Her voice is louder, faster and joyous, which perfectly suits the track. She’s accompanied by sweeping, soulful backing vocalists, while a piano reverberates and guitars and the rhythm section complete the driving arrangement. Together they produce an upbeat, uptempo track with feel-good sound. This is a far better song, the perfect one to end side one.
The second side of the album open with Tell It Like It Is another track many people will be familiar with, with many artists covering the song previously. It has an atmospheric, somewhat dramatic opening with a piano playing slowly, before the rhythm section enter accompanying Bettye’s vocal. Straight away, it’s apparent this is one of the best vocals and arrangements on the album. Bettye’s voice is laden with emotion and feeling, as she warns her man not to mess her around. Meanwhile, the arrangement is lush and melodic, horns blazing, while the piano adds atmosphere and the backing singers melodically sweep in and out the track. Overall, Bettye delivers George Davis and Lee Diamond’s song brilliantly, rivaling Aaron Neville’s version. This version is soulful with a capital S and easily, one of the album’s highlights.
Sweet Dreams is another track that’s laden in soul thanks to another stunning vocal from Bettye. The track opens slowly with a combination of chiming guitars, piano and rhythm section accompanying a slow gut-wrenchingly sad vocal from Bettye. She’s accompanied by joyful backing vocalists who’ve taken gospel music as their reference point. Horns joyously drench the arrangement in their glorious sound, with an excellent saxophone solo lifting the track further. Together, a slow fulsome horn laden arrangement, spiritual sounding backing vocalists and a heart achingly beautiful vocal make this a stunning track.
New York songwriter Chip Taylor wrote Angel of the Morning, a track that has been covered by many artists including Dusty Springfield and Nina Simone. Bettye released the track as a single in 1969 and her version is easily one of the best versions ever recorded. Drums slowly play before a piano played quickly and brightly accompanies Bettye who seems to give everything she has during this track, bringing the song to life. Her vocal veers from gentle and restrained to a loud and passionate delivery. During the track, blazing horns punctuate the arrangement, and together with Bettye’s vocal, make this a hugely dramatic song. This is easily my favorite version of the track, thanks to a hugely soulful and dramatic vocal from Bettye.
These Arms of Mine is a track that Otis Redding made famous by Otis Redding in 1962. Many people believe that version to be the definitive version of the song, but Bettye’s version must run Otis’ version a close second, at least. Here, she really demonstrates her huge talent as a vocalists, delivering the song emotionally and with boundless passion. The arrangement opens with chiming, shimmery guitars and rhythm section before Bettye accompanied by backing vocalists throws herself headlong into an emotive and passionate delivery of Steve Cropper’s lyrics. Both the cooing, soulful backing vocalists and bright, blazing horns transform the track, injecting life and feeling into the lyrics. Quite simply, it’s an outstanding version of a track made famous by Otis.
The Soul View Now closes with No Faith No Love which fittingly, bursts brightly into life, with horns, guitars and rhythm section combining to accompany a loud and passion laden vocal from Bettye. As her voice soars beautifully, her trusty backing vocalists accompany her. Horns and drums punctuate the track with drama, filling in when Bettye’s vocal drops out. Matching the bright, upbeat sound, is a quicker tempo. Here, it’s as if the band realized that this was the final track on the album and decide to really lift their game even higher. This they do brilliantly, as does Bettye who delivers the lyrics with enthusiastically and passionately, using her vocal range to its full. Together with her band, they’ve produced the perfect track to close the album. After all, if you’ve as good a vocal and arrangement as is on this track, what more do you want?
I’ve wanted to write about Bettye Swann for some time now, as I’ve always believed that she’s one of the most underrated soul singers ever. Her career was quite short, lasting just fifteen years. She released her debut single Don’t Wait Too Long in 1965, and retired in1980, aged just thirty-six. It seems that apart from some enthusiastic and passionate soul fans, most people have forgotten about Bettye. To me, that’s a huge shame, because during that fifteen year period, the music she recorded is outstanding. The two albums she recorded for Capitol are great albums, and if you ever get the chance to buy them, my advice is do so. They feature Bettye Swann at her very best. Nowadays it’s almost impossible to find the original albums, but there are two really good compilations of Bettye’s work available. These are a compilation released by Kent Records in 2001 which features the music she recorded for Money Records, and a 2004 compilation by Honest Jons entitled Bettye Swann which features the music she recorded for Capitol. Both are excellent compilations, which I can thoroughly recommend. Maybe if everyone who loves either Bettye’s music or soul music was to buy a copy, Bettye Swann could live a more comfortable life in Las Vegas. Standout Tracks: Don’t Touch Me, Then You Can Tell Me Goodbye, Tell It Like It Is and These Arms of Mine.
BETTYE SWANN-THE SOUL VIEW NOW.
ROBERTA FLACK-KILLING ME SOFTLY.
ROBERTA FLACK-KILLING ME SOFTLY.
In a previous article about Donny Hathaway, I mentioned how closely he had worked with Roberta Flack during his tragically, short career. I also mentioned how the pair were recording an album of duets just before his death. Ironically, the album that preceded Killing Me Softly, was an album of duets with Donny Hathaway. This was the first album of duets the pair had recorded entitled Roberta Flack and Donny Hathaway. At the time of Donny’s death in 1979, they were recording a second album of duets, but had only recorded two songs before Donny tragically died. The two songs were released on Roberta Flack Featuring Donny Hathaway, which was released in March 1980. Like the first album of duets, it was certified gold, reaching number twenty-five in the Billboard 200 and number four in the US R&B Charts. However, it’s the album that followed 1972s’ Roberta Flack and Donny Hathaway the first album of duets, that this article is about. That album is Roberta Flack’s 1973 album Killing Me Softly, which would become her biggest selling album.
By the time Killing Me Softly was released in 1973, Roberta Flack was a hugely successful artist. Three of her four previous albums had been certified gold, and the other platinum. Her debut album First Take, released in 1969, reached number one in both the US Billboard 200 and US R&B Charts, and was certified platinum. This was quite remarkable for a debut album, but when she released Chapter Two in 1970, it only reached number thirty-three in the Billboard 200. It however, was certified gold, as was her next two albums. They were 1971s’ Quiet Fire which reached number eighteen in the Billboard 200 and Roberta Flack and Donny Hathaway, released in 1972, which reached number three in the Billboard 200. So, when Killing Me Softly was released in August 1973, on Atlantic Records, she was hoping to replicate the success of previous albums. Little did she know, that Killing Me Softly would prove to be the biggest selling album of her career. On the album’s release, it reached number three in the Billboard 200 and number two in the US R&B Charts, and was certified double platinum, selling over two million copies. In 1974, the album was nominated for a Grammy Award, but lost out to Stevie Wonder’s album Innervisions. This was just one of four Grammy Awards that Roberta had been nominated for. The other three were for a song that she would become synonymous with.
One thing that must have helped sales of the album, was the success of the title track, Killing Me Softly WIth His Song, when it was released as a single. It reached number one in the Billboard Hot 100, spending four weeks there. Roberta won three Grammy Awards in 1974 for her version of the song, winning Song of the Year, Record of the Year and Best Pop Vocal By A Female Performer. Since then, a multitude of artists have recorded Killing Me Softly WIth His Song, but it’s widely recognized that Roberta’s version is the definitive version. One of the most recent versions was by hip hop group The Fugees in 1996. In 1999, Roberta’s version of the song was inducted into the Grammy Hall of Fame, and both Rolling Stone magazine and Billboard include the Killing Me Softly in their lists of the greatest songs of all time. Killing Me Softly is also the track that opens the album, which I’ll now tell you about.
Killing Me Softly opens with the title track, and a song that regardless of what she did before or after, Roberta Flack will always be synonymous with. Written by Charles Fox and Norman Gimbel and originally recorded by Lori Lieberman in 1971, it was two years later in January 1973, that Roberta made the song a huge hit. When the track opens, straight away, you’re enveloped in the song’s beauty, both the lyrics, Roberta’s voice and of course a subtle, sympathetic arrangement. Roberta sings gently and tenderly, as multi-tracking backing vocals accompany her. Keyboards melodically play, a gentle acoustic guitar is strummed while a slow, thoughtful bass, subtle percussion and metronomic, atmospheric, drums accompany Roberta’s vocal. It’s a combination of tenderness and thoughtfulness, she delivers the lyrics with, bringing the beautiful lyrics to life. Meanwhile, guitars chime, while the bass sits at the bottom of the mix, and drums and percussion are used sparingly. The keyboards are at the heart of the arrangement, their soft melodic sound key to the success of the track. However, what made this track such a huge hit and a timeless classic is Roberta Flack’s delivery of some beautiful lyrics. Her voice and the key she sings the song in, is just perfect. Combine that with an arrangement that’s subtle and sympathetic, and you’ve the recipe for a timeless classic. It’s a brilliant way to open the album, and if the other songs are even half as good, then this will be a great album.
The song that has to follow Killing Me Softly has a lot to live up to. After all, how do you follow one of the best songs ever recorded? Here, the track chosen is Jesse, written by Janis Ian, another slow and gentle track. It opens with piano and strings drenching the arrangement in pathos and sadness. When Roberta sings the lyrics she gets across the sadness of the lyrics about someone who is missing, and how they still await their safe return years later. Her delivery is perfect, bringing the lyrics to life, so much so, that you can almost picture the scenes unfolding before your eyes. Like Killing Me Softly, the arrangement is subtle, but here, it’s stripped down to piano, strings and bass. This is effective, suiting the song and Roberta’s delivery. Overall, it’s a lovely song, beautifully sung and arranged, even though lyrics have a slight saccharine quality.
No Tears (In the End) opens with a piano grandly playing before percussion enters. Things move up a gear when funk laden, chiming guitars reverberate, and the rhythm section enter. Roberta’s voice is louder and stronger, her delivery considered and confident. Horns blazing, inject their rasping sound, while the funky guitars and rhythm section help drive the song along. Later, what sounds like a gospel influenced choir of backing vocalists unite soulfully and brilliantly. They really help lift this song, and their voices combine really well with Roberta’s. A combination of great vocal and a much fuller, joyous sounding arrangement, make this an irresistible and excellent track. By the end of this bright, uptempo sounding track, a very different side of Roberta has become apparent. Hopefully, it’s one we’ll see more of on this album. One thing that puzzles me though, is why this track was only released as a b-side of the second single Jesse, when this was a much better track?
After a much more uptempo track, Roberta drops the tempo on I’m the Girl, a song about love lost, and an old love affair, where she knew her partner loved someone else. The song is written by James Allan Shelton and features another understated arrangement from producer Joel Dorn. Again, a piano and strings combine to accompany Roberta’s strong vocal, which again is thoughtful, but tinged with sadness. Apart from Roberta singing and playing piano, the arrangement features just strings and a really subtle contribution from an upright bass. This really suits the song, allowing Roberta’s vocal and delivery of the lyrics to take centre-stage. Her delivery of the track is hugely powerful, bathed in sadness, tinged with regret at what might have been. Like other tracks, she brings the song to life, allowing the listener to imagine the scenario unfolding scene by scene. It was the perfect way to close what was the first side of the original album.
What was the first song of the second side of the original album, River, has a different sound and feel, opening with chiming guitars and rhythm section. Drums pound repetitively, their sound metronomic, controlled, before Roberta’s vocal enters. When it does, her voice is high, but always in control. Then, backing vocalists unite, accompanying her with their joyous, gospel tinged sound. This meeting of voices and styles really lifts the track, improves it. Still, the arrangement features just the guitars and rhythm section, with the drums at the forefront of the arrangement. Offering some variety are strings which sweep in, while the guitars seem to want to inject a modicum of funk into proceedings. What’s almost a wah-wah sound is straining at the leash, but is never unleashed. The same can be said of the track. Throughout it, I always expect it to break out into something joyous and beautiful, maybe Roberta interacting and feeding off the backing vocalists. Sadly this never happens, and it seems a missed opportunity. Instead, the track has a slightly flat feel and sound. Although not a bad track, it isn’t the best on the album by a long shot.
Hopefully, Conversation Love will make amends for the previous track, River. Straight away, things sound promising, when a piano, flute, string and rhythm section combine with Roberta’s voice which is deeper, richer and charismatic. The arrangement is fuller, grander, with lush strings sweeping while the piano’s contribution is subtle, while the rhythm section provide the track’s heartbeat. Waves of music rise and fall dramatically, with the strings shimmering and sweeping beautifully, responsible for this. This is a much better track, mainly because of Roberta’s beautiful, considered delivery of the lyrics, and the much fuller arrangement, which is bathed in drama and atmosphere. It’s very much a return to form for Roberta, after the slight disappointment of the previous track.
Things change quite dramatically in terms of style on When You Smile, when Roberta rolls back the years, delivering the song in a style that brings to mind ragtime and big band music. Quite simply it’s a brilliant track, which reminds you what music used to sound like many years ago. The track bursts into life with rhythm section, piano and banjo combining with Roberta’s vocal. Her delivery of the lyrics is in a dramatic, big band style, with horns serenading her. Talking of the lyrics, they’ve a lovely sentiment, and you can’t help but smile when you hear them. Quite simply, you can’t help but be seduced by the catchiness of the track, it’s totally melodic and hook laden. A combination of an excellent vocal and infectiously catchy arrangement by Joel Dorn easily make this one of the track’s highlights.
Killing Me Softly closes with a cover of a Leonard Cohen track Suzanne, which Roberta delivers dramatically and thoughtfully, against a suitably subtle arrangement. It’s an epic version of this song lasting nine and a half minutes, and is up there with Leonard Cohen’s version of the song, as the definitive version. As the track opens it’s just piano and percussion that combine before keyboards and bass then enter. All play gently, subtly and thoughtfully before Roberta’s tender and gentle vocal enters. Straight away, it’s apparent Roberta’s slowed down version is transforming the song totally. Obviously, Roberta has a very different voice than Leonard Cohen, and her much more gentle, melodic and soulful delivery of the lyrics are a polar opposite of Leonard’s gruff, rasping vocal. She seem to enliven the lyrics, so much so, that you can visualize and empathize with Suzanne’s plight. During the track, the tempo rises and falls, with the arrangement a mixture of subtle and dramatic. Both the piano and strings are responsible for increasing both the tempo and drama, while a combination of melodic keyboards, gentle chiming guitars, percussion and rhythm section all play with a subtlety. Like the arrangement, Roberta’s vocal rises dramatically, demonstrating her power and versatility, delivering the lyrics with drama, passion and soul. By the end of the track, I’ve come to the conclusion that this is my favorite version of the song. I even prefer it to Leonard Cohen’s original version. To me, the combination of Roberta’s excellent vocal and an arrangement that’s a mixture of drama and subtlety transform this song totally. Just as the album opened with a brilliant song in Killing Me Softly, Suzanne provides a brilliant ending to the album.
I’d long planned to write about Killing Me Softly, since I wrote about Donny Hathaway’s album Everything Is Everything. My reason for wanting to write about this album is that when people talk about R&B and soul music nowadays, people seem to forget about Roberta Flack. This to me is strange considering how hugely successful a career she had. Between 1969 and 2003, she had seven albums and five singles that were certified gold and three albums that were certified platinum. That demonstrates just how huge a star she was. Nowadays, people seem to remember her for two of her most successful singles The First Time I Ever Saw Your Face and Killing Me Softly. One of my reasons for writing this article was to remind people that there was much more to Roberta’s career than these two singles. Granted both are brilliant songs, with Killing Me Softly being the outstanding track on the album Killing Me Softly. On that album, Roberta demonstrates her versatility and talent as a vocalist, singing songs in different styles, including soul, jazz and R&B. Killing Me Softly is an excellent album, containing some wonderful music. Apart from Killing Me Softly, the album contains an outstanding version of Suzanne, a Leonard Cohen song, and When You Smile which features an arrangement that has its roots in ragtime and big band music. These are just some of the great tracks to be found on this album. Should you have never heard Roberta Flack’s music, why not try this, especially if you like The Fugees version of Killing Me Softly WIth His Song. If you buy this album, you’ll hear the definitive version of the track, from Roberta Flack, a hugely talented singer, songwriter and musician. Standout Tracks: Killing Me Softly WIth His Song, I’m the Girl, When You Smile and Suzanne.
ROBERTA FLACK-KILLING ME SOFTLY.
STEVIE WONDER-FULFILLINGNESS’ FIRST FINALE.
STEVIE WONDER-FULFILLINGNESS’ FIRST FINALE.
Sometime, I revisit artists I’ve previously written about before, because of the amount of great albums they’ve released. One such person who deserves more than one article written about them, is Stevie Wonder. Between 1972 and 1976, he released five great albums, starting with Music of My Mind and Talking Book in 1973, Innervisions in 1973, Fulfillingness’ First Finale which this article is about in 1974 and Songs In the Key of Life in 1976. During this period, the quality of his music was outstanding, which was reflected in both the critical reception and commercial success of his music. Each of the albums provided Stevie with number one US R&B hits, while Fulfillingness’ First Finale and Songs In the Key of Life both reached number one in the US Billboard 200.
By 1974, Stevie Wonder was in a rich vein of musical form, and it seemed like he could do no wrong. He was producing some of the best music of his career, music with a message and a social conscience. However, on Fulfillingness’ First Finale only You Have’t Done Nothin’ saw Stevie comment on the state of the world, his target being the ongoing saga of ex-President Richard Nixon and his administration. Apart from that, most of the songs on the album were free from social comment, with the tone somewhat sombre, the arrangements much more sparse, less fulsome, than on previous album. This slightly different sound was hugely successful, winning Stevie three Grammy Awards, for Best Male Pop Vocal, Best Male R&B Vocal, for Boogie On Reggae Woman and Album of the Year. Quite simply, Stevie Wonder, it seemed could no wrong, with Fulfillingness’ First Finale just the latest classic album from one of the most talented, singer-songwriter and multi-instrumentalist ever. However, just what makes this such a great album? That’s what I’ll now tell you.
Fulfillingness’ First Finale opens with Smile Please a track that has a lovely melodic sound thanks to the combination Fender Rhodes, rhythm section, guitar, congas and bongos that feature during this track. Together with Stevie’s gentle and tender lead vocal, it’s the way that the instruments combine, and their collective sound that give the track such a melodic sound. There’s a subtlety about the way some of the instruments are played that’s important too. During the track, Stevie’s accompanied by some similarly tender and gentle backing vocalists including. Jim Gilstrap and Deniece Williams. She was already a star in her own right, but became famous for her hit single Free in 1976. This tender vocal from Stevie and melodic arrangement suits the lyrics, which have a lovely sentiment, about happiness, friendship and love. During the track, Stevie resorts to scatting, and this improvisational style won’t please everyone. I’ve always felt that this style suits the lyrics, and are done in such a way that reflects the joyfulness of the song. Overall, it’s a lovely melodic track to open the album, one that features a tender vocal from Stevie and catchy, melodic arrangement.
The style changes quite considerably on Heaven Is 10 Zillion Years Away, a track that has both spiritual sound and feel, featuring some backing vocals that have their roots in gospel music. Like much of Stevie’s music, his lyrics are strong, intelligent and if you listen carefully, have something interesting and worthwhile to say. Here, he sings about God and heaven, but also race, love and hate. In the song he’s questioning, uncertain, looking for answers, maybe even angry. There’s so sign of anger or hate as the song opens, with a Hohner Clavinet, Moog bass and drums combining to accompany Stevie. Here the arrangement is quite spartan, stripped down to just keyboards and rhythm section. The song doesn’t suffer for this, and if anything, helps Stevie’s vocal to shine. His vocal is quiet and thoughtful, as he ponders a serious of important questions. Meanwhile, backing vocalists produce some stunning backing vocals. Two of the people responsible for these joyous, almost spiritual backing vocals are Paul Anka and Syreeta Wright. Together with Stevie’s vocal which by them is laden in passion and joy, surrounded by joyful whoops and hollers. Combine his vocal with some intelligent and questioning lyrics, and a somewhat pared down arrangement and some joyous backing vocals, and you’ve the recipe for an excellent song, easily one of the album’s highlights.
To Shy To Say is slow piano led track which sees Stevie accompanied by Sneaky Pete Kleinow on pedal steel guitar James Jamerson on acoustic bass. The song features a beautiful tender and thoughtful vocal from Stevie about being in love and loving someone. Making the track even better, is the pedal steel guitar, which reverberates, drenching the track in a sound that’s full of pathos and hugely atmospheric. What is quite a simple arrangement really works, especially when fused with such a tender, emotive vocal as Stevie gives on this track. Quite simply, it’s a beautiful song.
One of the singles taken from the album was Boogie On Reggae Woman. It reached number three in the US pop charts and number one in the US R&B Singles Charts. Another feature of this track is that Stevie plays nearly instrument on the track himself, playing Moog bass, Fender Rhodes, piano, harmonica and drums. The only instrument he doesn’t play, are the congas. When the track opens, a loud, buzzing Mood bass opens the track, with its unmistakable sound. Meanwhile drums, piano and Fender Rhodes combine before Stevie sings, his voice louder and stronger. During the track, there’s some lovely jazz influenced piano solos, and later, Stevie plays a great solo on his harmonica. It’s quick and soulful, and yet another contrasting sound on this track. That’s one of the things that make this such an irresistible track, the contrasting sounds that make up the layers and textures of music.
What was the final track on the first side of the album was Creepin’ another lovely ballad, with some subtle backing vocals. The track opens gently and slowly with synths, rhythm section and Fender Rhodes combining with Stevie’s vocal which is a mixture of tenderness and joyfulness. He’s accompanied on backing vocals by another soul legend, Minnie Riperton. Her vocal is a perfect accompaniment for Stevie, as he sings about his dreams of love and loving. During the track, the arrangement meanders melodically and beautifully, with a wistfulness in Steve’s vocal as he sings some lovely, tender lyrics.
The only track on the album that saw Stevie make any social comment on the world around him, was You Have’t Done Nothin’, where he strongly criticised the administration of ex-President Richard Nixon. Here, the lyrics are quite pointed, cynical even, with Stevie fed-up, dismayed, maybe even disgusted at what went on. It was a song the public loved and related to because when it became the first single to be released from the album, it reached number one in the US pop and R&B Charts. It’s a dramatic sound that opens the track, reminding me in some ways to the opening of Superstition. A funk laden Hohner Clavinet, percussion, bass and drum machine open the track, combining with a yelp from Stevie before he emotively sings the lyrics. Horns blaze, as if disgusted at the goings on, while later, The Jackson 5 sing backing vocals sweetly. Together with a loud buzzing bass and subtle percussion, this fuller, arrangement is outstanding. No wonder this track was such a huge hit, featuring everything you could possibly want from a slice of soul with a social conscience.
It Ain’t No Use is very different from the previous track, and is almost the polar opposite. This a tender and gentle ballad, with a much more subtle sound and stripped down arrangement. It’s just a combination of Fender Rhodes, drum machine, Moog bass and backing vocals that accompanies Stevie. As the track opens, the Fender Rhodes and gentle backing vocalists unite before Stevie sings about a relationship gone wrong, where there’s no going back, it’s over. His vocal is slow, but his voice is fuller, stronger. When the backing vocalists interject, their voices range strong and loud, to soft and subtle. Regardless, like Stevie, their voices are always soulful in the extreme, especially Minnie Riperton and Deniece Williams, two hugely talented singers. By the end of the track, you can’t help but be seduced by this beautiful sounding, and sometimes, subtle song, with many people being able to empathize with the lyrics about love gone wrong.
A piano plays slowly and dramatically, as They Won’t Go When I Go, a track that sees Stevie play every instrument and sing lead and backing vocals. Straight away, the tone is sombre, a sadness apparent even before he sings the lyrics about deceitful friends, friends who lie, pretending to be something they aren’t, pretending to care and to miss someone when they die. These people Stevie sings, will never be pure, always be sinners and will never go when he goes. Although there is plenty of truth in the lyrics, about deceitful friends, I don’t particularly like the way he portrays himself above everyone else. He perceives himself as pure, while others are portrayed as sinners, almost unclean, less worthy than him. This faux spirituality isn’t for me, and neither is the sombre, thoughtful sound and mood of the track, which is a combination of piano and T.O.N.T.O synth. I just can’t quite take to the near arrogance of the faux spiritual lyrics and the arrangement. So far, it’s the only poor track on the album.
Thankfully, Bird of Beauty has a brighter, uptempo sound and things seem much more promising than the previous poor track. It opens with Fender Rhodes, cuica and rhythm section combining, while Stevie sings, his voice joyful and bright, the tempo quicker. Accompanying him are a triumphant trio of backing vocalists including Lani Grove, Minnie Riperton and Deniece Williams. They soulfully interject and serenade Stevie’s vocal, their contribution huge, their voices a lovely contrast to Stevie’s vocal. Meanwhile, the arrangement has a bright, feel-good sound, thanks to the way the Fender Rhodes and cuica combine, while the Moog bass and drums drive the track along. The lyrics are about taking flight, going on holiday, recharging your mind, while you experience what life has to offer. After the disappointment of the previous track, Stevie has found his form again, on an upbeat track that mixes soul and Latin music to produce a track that has a joyous, feel-good sound.
Fulfillingness’ First Finale closes with Please Don’t Go, a song about love and love gone wrong. Here, Stevie pleads for his lover not to go, as he couldn’t stand the sadness and pain he foresees. A piano and Moog bass combine with percussion, drums and Fender Rhodes as the track opens. The song has a bright sound, as Stevie promises to change, to do whatever it takes to make his lover happy. Later, backing vocalists subtly sing soulfully, while later on Stevie plays harmonica. This seems out of kilter with the lyrics, and doesn’t quite work. It seems the wrong instrument, at the wrong time. When what sounds like a choir of joyous, gospel influenced backing singers combine beautifully, with a sound that’s almost spiritual, the song moves up a gear. Meanwhile, Stevie’s voice is laden with passion, as if feeding off the energy of the backing vocalists, producing an outstanding vocal. By the end of the track, I’m hooked due to Stevie’s passionate performance, some joyous backing vocals, and apart from the harmonica, an otherwise faultless arrangement. This is the perfect track to close a great album, one with an uplifting and upbeat sound.
During his career, Stevie Wonder has produced a number of classic albums. Between 1972 and 1976, it seemed he could do no wrong, producing a total of five great albums. Fulfillingness’ First Finale was the fourth of these albums, and features some wonderful music. One change on this album, was the sparse, stripped back sound on some of the tracks. This wasn’t the case on all the tracks, with some having much fuller and grander arrangements. Unsurprisingly, two of the best tracks were the two songs that were released as singles. These were the irresistible sounding Boogie On Reggae Woman and You Have’t Done Nothin’, Stevie’s cutting comment on the Nixon administration. Other great tracks were Heaven Is 10 Zillion Years Away, one of the tracks with a spartan and pared back arrangement. The song didn’t suffer for this and had a joyous and passion laden sound thanks to Stevie and his backing vocalists including Syreeta Wright. On the album, Stevie was joined by a number of guests who contributed backing vocalists. This included some legends of soul music, including Minnie Riperton, Deniece Williams, Syreeta Wright and The Jackson 5. All of these musical legends helped Stevie Wonder make what is, quite simply an outstanding album. It’s among the best of the albums he released during his classic period. If you’ve never heard this album, it’s one that’s well worth buying, as are all of the albums he released between 1972 and 1976, a time when Stevie Wonder was truly was at his creative peak. Standout Tracks: 10 Zillion Years Away, Boogie On Reggae Woman, You Have’t Done Nothin’ and Please Don’t Go.
STEVIE WONDER-FULFILLINGNESS’ FIRST FINALE.
RUFUS FEATURING CHAKA KHAN-RUFUSIZED.
RUFUS FEATURING CHAKA KHAN-RUFUSIZED.
By 1974, Rufus had come a long way from their humble beginnings as a Chicago bar band. The previous year 1973, Rufus had released their eponymous debut album Rufus, which only reached number 175 in the US Billboard 200. It was hardly the most successful debut album in music history, but things would change dramatically with the released of Rags To Rufus, later in 1973. When the album was released, it reached number four in the US Billboard 200, and was certified gold. Suddenly, Rufus were one of the biggest bands in America, with their combination of soul, funk and rock music. So, when they released their third album for ABC Records, Rufusized, great things were expected from this album. Critics and fans weren’t disappointed, with the album being critically acclaimed, reaching number seven in the US Billboard 200 and number two in the US R&B Charts. Rufusized was the album that broke the group in the UK, reaching number forty-eight in the UK album charts. After that, Rufus, and later Chaka Khan as a solo artist, were hugely popular in the UK.
Having just released two hugely successful albums, the band’s profile was high. Helping lift their profile even further, was touring with soul legend Marvin Gaye and the Rolling Stones and appearances on two famous US television programs American Bandstand and Soul Train. Much of the attention was focused on Chaka Khan thanks to her fantastic, powerful vocals, strong personality and unique dress sense. This however, had previously caused resentment among other band members. By 1974, and the release of Rufusized, things had settled down, with Nate Morgan having just joined the group before the albums release. Tony Maiden who had only joined the group towards the end of the recording of Rags To Rufus, was beginning to contribute much more to the groups music. He often sang vocals on the albums, sometimes duetting with Chaka. Chaka too, started to become more involved in the songwriting process, and contributing more vocals on the group’s albums. On Rufusized, Chaka’s contribution is huge, co-writing four songs, and singing lead vocals on the two singles released from the album, Once You Get Started which reached number four in the US R&B Charts while Please Pardon Me (You Remind Me of A Friend) reached number six in the US R&B Charts. So not only was Rufusized a hugely successful album, but featured two successful hit singles. However, what was it that made Rufusized such a hugely successful album? That’s what I’ll now tell you.
Rufusized opens with Once You Get Started, a track that bursts into life with a joyous combination of funk and soul. A funk laden rhythm section, chiming guitars and the brass section joyfully serenade the arrival of Chaka’s vocal. It’s a combination of controlled power, emotion and soulfulness. Straight away, the unbridled joy and passion that Chaka delivers the lyrics with has an infectiousness, with the rest of the band raising their game. Sometimes, Chaka duets, other times the rest of the band contribute backing vocalists, but neither can match Chaka’s emotive, powerful deliver. As the track progresses, a melange of rhythms and melodies, thanks to the rhythm and brass sections, guitars and keyboards, the track heads into funk overdrive. By the end of this funk drenched workout, both Chaka and the rest of the band have delivered an outstanding track to open the album.
When Somebody’s Watching You opens, the funk influence of the previous track continues, with a funky, chiming guitar opening the track, and the rhythm section and Chaka quickly getting in on the act. When Chaka, accompanied by a combination funky guitars, bass and keyboards, with metronomic drums, her voice starts of quite restrained, and even when her vocal soars heavenwards, it’s a much more subtle performance that the opening track. Still, though, her vocal is loaded with feeling and drama. If anything, this arrangement has a much more infectiously funky sound, and Chaka’s much more considered vocal, make this just as good a track as the opening one, one that’s melodic, catchy with hooks aplenty.
A slow, dramatic piano opens Pack’d My Bags, the sound veering from a dark, dramatic sound, to a bright melodic one. After a lengthy introduction, that points towards a track that should be impressive and dramatic Chaka gently harmonizes against an arrangement that has an understated sound, guitars, keyboards and rhythm section combining. They continue the slow tempo, building up the atmosphere, with strings sweeping in, as Chaka thoughtfully sings about a relationship breaking up, and a woman and her child having to pack their bags, and how they’ll miss their partner and father. Here, both Chaka and the band combine to produce a vocal and arrangement that’s suits the sadness and emotion of the lyrics. Chaka uses her powerful vocal to get across the emotion and sadness of the lyrics, while the band use the arrangement to get across the drama of such a situation. Waves of dramatic music unfold, with drums and string injecting drama, that matches Chaka’s vocal. As if unable to resist a trip into funky territory, the rhythm section and guitars enjoy a funk laden workout, which Chaka joins. Much as it’s hugely enjoyable, it doesn’t quite sit with the earlier emotion and sadness. However, overall, it’s a good track, albeit the track might have been better without the diversion into territory marked funk.
Similarly to the previous track, Your Smile is a track that begins slowly, with guitars, strings, keyboards and subtle drums accompanying Chaka. Her voice is quieter, much more gentle, as the track opens. Here, the arrangement unfolds, peaks of music building up, with strings sweeping grandly in, while the rhythm section, guitars and keyboards combine subtly, producing an arrangement that although understated, is melodic. Chaka’s vocal has a similar subtlety, with her vocal full of emotion and feeling, as she delivers the lyrics, without resorting to unleashing her hugely powerful voice. This allows the listener to see a more thoughtful and subtle side of both Chaka and the band, one the demonstrates that in among the funk, there’s a hugely soulful band waiting to break out.
Having had a break from their funky sound on Your Smile, they revisit on the title track Rufusized. Straight away, the track heads brightly into funk territory supreme, with a combination of keyboards, interjections from a joyous brass section and the funkiest of rhythm sections. They combine a quick beefy bass line, with bouncy drums, while rock influenced guitars soar, scream and chime. A vocal is briefly sung via a vocoder, and later, the brass section blaze, uniting in leading the track to its funky conclusion. Although the track doesn’t feature Chaka, it’s an excellent slice of funk, even with the brief inclusion of the vocoder.
I’m A Woman (I’m A Backbone) has a dramatic, funk laden track, with slow, moody, yet funk laden rhythm section combining with soaring, loud guitars that chime, while Chaka sings about the importance of a woman, her roles and her strengths. Here, Chaka certainly is the backbone of the band, at the heart of everything good, her vocal passionate, full of power and emotion. As she sings, deep backing vocals accompany her and again, the vocoder makes its presence felt, albeit relatively briefly. Meanwhile, the band provide an arrangement that’s sometimes, dark and moody, but always full of funk. Combined with Chaka’s vocal, it’s an intriguing combination, resulting in a track full of emotion, passion and atmosphere.
Straight away, from the opening bars of Right Is Right, the track bursts into life, the tempo quick, with the rhythm section, guitars and keyboards combining to mix soul, funk and rock while Chaka delivers another passionate and powerful vocals. Her vocal soars high soulfully, accompanied by a buzzing bass, wah-wah guitars, that combine with rock influenced guitar solos. Meanwhile drums that have a bouncy sound, pound, and keyboards add an authentic early seventies sound that wouldn’t sound out of place on a Blaxploitation soundtrack. This combination of three genres of music combines perfectly, producing a great track that epitomises just what made Rufus featuring Chaka Khan such a great band. Their ability to combine elements of various musical genres is demonstrated brilliantly here.
Keyboards and the rhythm section combine, producing a quick, fulsome, funky sounding introduction to Half Moon, before Chaka’s vocal enters. It’s similarly quick, with her using her vocal range powerfully, delivering the lyrics with her usual emotion and passion. Behind her, a funk masterclass is unfolding, with an organ, driving rhythm section and a mixture of chiming and soaring, screaming guitars combining masterfully. It’s a combination of uniting as a band, and improvisation, which sometimes, take the track towards a destination marked jazz. Again, there’s a rock influence present thanks to the guitar sound, but mostly funk is the order of the day. Together with Chaka’s emotive, power laden vocal, the band combine to produce a funk masterclass.
One of the tracks that was released as a single, was Please Pardon Me (You Remind Me of A Friend) which reached number six in the US R&B Charts. Once you’ve heard the track, you’ll realise just why this was such a big hit. String and brass sections, combine before piano, guitars and rhythm section combine to accompany Chaka. While the arrangement has an upbeat and bright sound, thanks to the string and brass sections, guitars and rhythm section play gently, with a subtlety. Chaka’s vocal is full of feeling, as she delivers the lyrics, constantly questioning and probing, always laden in emotion, with passion not far away. The arrangement sweeps dramatically along, with Chaka, the piano, strings and brass sections responsible for much of the drama. By the end of the track, it’s obvious that this is, by far, the best track on the album, if not one of the best the band ever recorded.
Rufusized closes with a track soul legend Bobby Womack cowrote with Pete Thomas. This version is very different from the original, with Chaka singing the song as a duet, with strings sweeping grandly in the background. The song has been slowed down, the arrangement full of drama, thanks to a combination of the funky rhythm section, grand, sweeping string sections, shimmering and chiming guitars and atmospheric keyboards. However, Chaka’s vocal is both hugely dramatic and powerful, laden in emotion, allowing her to demonstrate her considerable talent as a vocalist. As the track ends, much as I’ve enjoyed this version of the track, and enjoyed the slower tempo and arrangement full of drama and passion, I can’t help but prefer Bobby Womack’s version. However, that doesn’t mean this is a bad track, quite the opposite, it’s really good, and a fitting way to end this album.
In a previous article, I reviewed Rufus Featuring Chaka Khan, a critically acclaimed and hugely successful album from the band. This was one of the band’s later album. Although Rufusized was just the group’s third album, they’d quickly matured into a really tight band, capable of producing and combining musical styles and influences. On this album, the three main influences are funk, soul and rock, which the group combine brilliantly. These aren’t the only influences and styles. Listen carefully to the album, and especially tracks like Half Moon, and you’ll hear a jazz influence. Sometimes, three genres of music combine during one track, with elements of funk, soul and rock being apparent. This was one of the things that made the group so hugely popular. The other thing was Chaka Khan. Without her brilliant vocals, this wouldn’t have been as good an album. Her contribution and influence are huge, and it was no wonder she received the plaudits that she did. Chaka’s vocals mix power and passion, with emotion and drama. Together with some brilliant musicians who made up Rufus, they produced yet another great album, one that was certified gold, and helped make Rufus Featuring Chaka Khan one of the biggest and most popular bands of the seventies. if you’ve never heard Rufusized, I can thoroughly recommend it. It features some wonderful music, from a band at the top of their game. Standout Tracks: Once You Get Started, Pack’d My Bags, Half Moon and Please Pardon Me (You Remind Me of A Friend).
RUFUS FEATURING CHAKA KHAN-RUFUSIZED.
|
CURTIS MAYFIELD-CURTIS.
CURTIS MAYFIELD-CURTIS.
By 1970, Curtis Mayfield had left The Impressions, and decided to become a solo artists. This wasn’t the only major change in his life at this time. The other change was his founding of Curtom Records, an independent record label. Curtom Records released albums by Leroy Hutson, The Impressions, Donny Hathaway and The staple singers. In September 1970, Curtom released Curtis Mayfield’s debut album Curtis. On the album was music very different to the pop-soul sound of his former group The Impressions. Instead, the music on Curtis was a combination of soul, funk and psychedelia that featured music with a social conscience, music about the politic and social problems of that time. Although the album was very different to his previous music, the album was both critically acclaimed and a huge commercial success, reaching number one on the Billboard Black Charts, where it spent five weeks at number one and number nineteen in the US Billboard 200. Two of the tracks on the album (Don’t Worry) if There’s A Hell Below, We’re All Going To Go and Move On Up, are among the most memorable songs Curtis recorded as a solo artist. Much of the music on the album reflected the problems that black America was facing politically and socially, and how they united to help deal with these problems. This was a new direction for Curtis, one he’d wanted to move his music towards, for some time. So between May and July 1970, Curtis entered the studio, producing what’s quite simply, it’s a hugely powerful album, full of social comment, that sees Curtis combine soul, funk and psychedelia.
Curtis opens with (Don’t Worry) if There’s A Hell Below, We’re All Going To Go a track that showcases Curtis’ new funk based sound. It’s an epic track, nearly eight minutes long, that opens with muted conversation, a woman talking about religion accompanied by a buzzing bass, before Curtis, like a prophet of boom forecasts our collective descent into hell. This announcement is all encompassing, regardless of race or religion. Thankfully, after this somewhat depressing opening, the sound becomes brighter, with Curtis’ voice retaining that hugely soulful sound. The arrangement is quick, sounding like something from a Blaxploitation soundtrack, with funk laden rhythm section, bursts of bright, blazing repetitive horns, lush sweeping strings, chiming guitars and keyboards. It’s a fulsome and dramatic funk laden sound, the perfect accompaniment to Curtis’ lyrics, which have a bleakness, as he forecasts the demise of us all, and our decent into the pits of hell. As the track progresses, and the arrangement grows, it’s obvious that this is a hugely powerful, dramatic almost prophetic track. Here, the lyrics are full of social comment, about the problems of the time, which Curtis’ lyrics and vocal brings to life. By the end of this compelling track, you realize that this is indeed funk laden masterpiece, full of drama, anger with Curtis acting as a nation’s social conscience.
When The Other Side of Town opens, the sound is grandiose and dramatic, sounding like something from a film soundtrack. The track opens with a sweeping piano, combining with booming dramatic drums, lush strings, blazing horns and guitars combining before Curtis’ tender vocal enters. Behind him, the powerful and dramatic arrangement provides a total contrast to his vocal. It’s humble and thoughtful, full of sadness and regret as he sings about poverty, and all the things he missed out on, never knew and never learnt about. Horns as if angry interject, blazing, while strings sweep grandly, as rhythm section, guitars and keyboards produce an arrangement that dramatically helps brings home the abject poverty, and is sympathetic to the bitterness, anger and regret that Curtis must feel. This is another hugely powerful track, one makes you angry and annoyed at the poverty some people experience and the opportunities that they miss out on.
There’s a slightly theatrical, yet dramatic sound to The Makings of You, with piano, harp, rhythm section then dramatic blazing interjections of horns make their presence felt. This seems a fitting introduction to Curtis’ hugely tender, gentle and thoughtful vocal, as he sings a song about love, against a sweeping backdrop of strings, horns, rhythm section, harp and chiming guitars. Together, they produce an arrangement that one minute has a gentle and understated strings and a harp central to the sweeping sound, the next it’s loud and powerful with horns blazing and interjecting. However, together, they produce a beautiful and fitting backdrop for an equally beautiful and gentle vocal from Curtis, on one of the album’s best tracks.
On We Are the People Who Are Darker Than Blue, Curtis addresses the problems of racism and who best to deal with it. In the song, he says that what people say, mustn’t become a self fulfilling prophecy. As the track opens, brass, strings and rhythm sections combine with piano and guitars to produce a slow arrangement, that’s full of emotion and drama. This is perfect for Curtis’ thoughtful and intelligent lyrics. Here, his voice is full emotion, rising as if anger and annoyance is just below the surface. The arrangement reflects this, with horns and drums injecting anger and drama. Later in the track, the head veers off into funk territory, after the track slows down, with drums and percussion starting this frantic, funk workout. Curtis joins in, his voice almost an early rap, as he gets across the problems and his feelings about them. After this, the track slows down, to its former tempo and sound. Like other tracks, it’s deeply moving and hugely powerful, with Curtis again, using his music to become spokesman for those effected by these problems. Here, he uses a masterful combination of soul and funk to get an important message across, and does so brilliantly and powerfully.
Earlier in this review, I said that one of Curtis’ best known tracks was Move On Up. This track has almost become synonymous with Curtis, and is one of the album’s highlights. It’s a joyous explosion of uptempo, feelgood music, that features an outstanding vocal from Curtis. Opening with Drums, horns, strings, bass and guitars, accompanying a joyful Curtis Mayfield. Horns joyous, drench the track, as they interject, while frantic drums and percussion combine and strings sweep in and out of the track. A piano plays subtly in the background, but is hardly audible. However, it’s Curtis vocal that steals the show. Together with the arrangement, it’s a joyous, celebration nearly nine minutes long, that combines elements of soul, funk and even jazz. Here, his band demonstrate just how talented and tight a band they were, heading into a funk workout, where they can each showcase their individual and collective talents. It almost becomes like a track of two parts, the first that you usually hear as a single, and the second equally good part, which is partly a funk workout. By the end of the track, you’ve been swept along by some brilliant, joyous music, that’s so catchy it’s almost infectious and laden with hooks.
Miss Black America opens with a slow piano solo, accompanied by gentle drums and percussion provides the backdrop for a telephone conversation between a father and his young daughter, who wishes to become Miss Black America when she grows up. When the conversation ends, the arrangement changes drastically, bright, blazing horns, piano, rhythm section and guitars combining to accompany Curtis, who is accompanied by backing vocalists. They soulfully unite, providing a perfect accompaniment to Curtis vocal that celebrates Miss Black America, her beauty, talent, and intelligence. The arrangement has an equally, joyous, celebratory sound, full of grand, bright horns, driving rhythm section and sweet, soulful backing vocals. Together with Curtis’ tender, yet joyful vocal, they combine to produce a hugely melodic and dramatic track, that celebrates the accomplishment of Miss Black America.
Wild and Free dramatically bursts into life, a blaze of horns, quick, driving rhythm section, harp and guitars, accompanying a powerful, emotive vocal from Curtis. Later strings sweep, grandly in, adding even more drama to this fulsome arrangement, which unfolds into waves of dramatic, powerful music. It’s a combination of interjections from horns and strings, which are at the heart of the arrangement and a rhythm section that power the track along, providing the track’s heartbeat. Guitars chime, while a harp melodically contributes. All of these instruments contribute to one of the best arrangements on Curtis. Speaking of the man, Curtis’ delivers lyrics about one of nature’s free spirits with combination of emotion and power, demonstrating his talent and versatility as a vocalist, on this great track.
Curtis closes with Give It Up, another track that’s laden in drama, with waves of emotive music revealing itself on a track that’s hugely soulful. Brass, string and rhythm sections combine with chiming guitars and keyboards, as Curtis delivers a tender, thoughtful and sometimes, powerful vocal. During the track, his voice is full of emotion, sadness and regret, as horns, strings and guitars provide an arrangement that veers between subtle and melodic and dramatic and powerful. This matches the emotion of Curtis’ lyrics, and his delivery of them, on a track that show Curtis doing what he does best, singing soul music. For some reason, this seems a fitting end to his debut album, with a track that features great vocal from one of soul and now funk music’s legends Curtis Mayfield.
As someone who has previously listened to a lot of The Impressions music, which features Curtis Mayfield, Curtis was quite a contrast when I first heard it. The music was totally different, but hugely powerful Curtis’ music dealt with the political and social problems of 1970, and he became the spokesman and social conscience of a generation of people. His music spoke for, and represented people who didn’t have a voice, and couldn’t make their feelings, protests or presence felt. In a way, Curtis’s music was like a conduit for them. Through him and his music, their worries, fears and anger was heard, not just in America, but worldwide. This demonstrates the power and potency of music, and how music can cause debate and even, cause change. On Curtis, the music may have a message, but it’s among the best music Curtis ever recorded. Together with a crack band of musicians, and over a three month period, they recorded eight great tracks. Each of these tracks is of the highest standard, featuring powerful and intelligent lyrics, great vocals from Curtis and some great arrangements. Not only did Curtis sing vocals, write each song and produce the album, but he also played several instruments, including guitar, bass, drums, piano and saxophone. He was truly a hugely talented musician, and during the seventies and eighties, he released some great albums. Sadly in August 1990, he was paralyzed from the waist down, when a lighting rig fell on top of him. Nine years later, in December 1999, Curtis died, aged just fifty-seven. Although he died far too young, the legacy he leaves behind, is some brilliant music, including his stunning and powerful debut solo album Curtis. Standout Tracks: (Don’t Worry) if There’s A Hell Below, We’re All Going To Go, The Makings of You, We Are the People Who Are Darker Than Blue and Move On Up.
CURTIS MAYFIELD-CURTIS.
SLY AND ROBBIE-SYNCOPATION.
SLY AND ROBBIE-SYNCOPATION.
A while ago, I was crate digging when I came across an album by one of the most famous rhythm sections in reggae music, Sly and Robbie. The album was Syncopation, released in 1982, and was produced by one of the most famous producers Joe Gibbs with Errol Thompson engineering the album. Having long been a fan of their music, and already owning a number of their albums, I decided to take the plunge and invest some money in an album I wasn’t familiar with. Having bougt the album, I looked forward to hearing some of their trademark rhythms on an album that is a mixture of dancehall and dub music. Safe in the knowledge that with Sly and Robbie providing the rhythms, Joe Gibbs producing the album and Errol Thompson on engineering duties, I hoped for a musical feast. Before I tell you whether this is what I enjoyed, or whether it was more famine than feast, I’ll tell you about Sly and Robbie
Over the years, Sly and Robbie had been the go to rhythm section, for various producers who wanted some great rhythms on their productions. Their work, either as musicians or producers, features on an estimated 200, 000 recordings. This is an astounding number of recordings and demonstrates how talented the duo are. Drummer Sly Dunbar first met Robbie Shakespear in the mid-seventies. Before this, Sly was the drummer for Skin, Flesh and Bones, while Robbie was the bassist for the legendary band The Aggrovators. When they met, they realized that this was indeed a meeting of minds, with both men having similar tastes in music and theories in music. This duo would go on to transform reggae music, and later, work with some of the biggest names in music.
One of the first ways they changed reggae was the introduction of a style of music with a harder beat called Rockers. This style of reggae replaced the popular one drop style of music. In the early eighties, the duo were involved in two things that helped change reggae. The first was the introduction of the rub a dub sound, and the second the introduction of computers and technology in the music making process. Island Records founder Chris Blackwell made the duo the heartbeat of the Compass Point All Stars, based in Nassau, Bahamas. It was there that they produced records for divas Grace Jones and Gwen Guthrie, as well as Joe Cocker. By the nineties and into a new century, they continued to innovate, combining genres, like dancehall and Latin music, while they collaborated with hip hop, electro and pop stars alike. Like the eighties, they were still producing and playing on a multitude of tracks, with their collaborations ranging from reggae royalty including Peter Tosh, Black Uhuru and Dennis Brown to artists ranging from Bob Dylan, Serge Gainsbourg and Carlos Santana. Even until recently, Sly and Robbie continue to record, produce and tour, and are still at the cutting edge of music working with a wide rage of artists on singles and albums alike. One of the albums Sly and Robbie recorded was Syncopation, their 1982 album, which having discovered crate digging, I put on expecting a musical feast. However, was it a musical feast or famine I discovered when I played the album?
Syncopation opens with the title track Syncopation which opens with a jarring almost discordant blast of a synth. Thankfully, after that, things improve, with the sound heading in a much more melodic direction, driven along by song subtle rhythms from the hardest working rhythm section in reggae, Sly and Robbie. They’re assisted by a brass section, who subtly punctuate the track while guitars and synths augment the sound. Throughout the track, the synths squelches and reverberates, not really adding anything to the track. If anything, it’s presence draws your attention from the rest of the track, which is pretty good, albeit it’s not the sound you’d expect to hear on a reggae album. There’s an experimental sound to the track, thanks to the duo’s fascination with the synths, and the rawness I prefer isn’t present. Having said that, it’s a good, but not great start to the album, with Sly and Robbie subtle rhythms and the brass sections contribution, being the best thing about the track.
Free Ticket To Ride sees Sly and Robbie pay homage to The Beatles, reinterpreting Ticket To Ride. The track begins with synths, bright chiming guitars, metronomic crisp drums and a strong bass line. When the vocal briefly enters, only to disappear, but reappear, it’s slightly weak, but melodic. During the track, the guitar playing is excellent, soaring and chiming, with some quick crisp solos filling out the sound. Meanwhile, the rhythms stronger than on the opening track, what I’d expect from Sly and Robbie. However, for me, the track doesn’t quite work. Part of the problem is the vocal, which is slightly weak, and doesn’t suit the arrangement, and the track itself. Here, the vocal almost seems an afterthought, and would’ve been better left of the track, with this being an instrumental. As for the song itself, I don’t think that the track works as a reggae track, it just doesn’t sound right. That’s a pity, as there are some decent rhythms and great guitar playing on the album.
After two somewhat disappointing tracks, I’m beginning to hope that the album will improve, with Earthscan the next track. Immediately, when the track opens, things are looking promising. Crisp, drum beats, percussion and a deep, booming bass line are accompanied by the brass section who create a joyous upbeat, feelgood sound. Synths make their presence felt, but don’t dominate the sound, occasionally squelching and slithering over the top of the arrangement. Effects are subtly used, delay being Joe Gibbs weapon of choice. Thankfully, this is a much better track, the rhythms are far better, the quicker tempo has a joyous, upbeat sound which has an infectiousness. Earthscan it seems, is Sly and Robbie atoning for the two previous mediocre tracks. Hopefully, the rest of Syncopation will be more like this.
Flirting In Space has a similar upbeat, bright and joyful sound to the previous track. if anything, the rhythms are stronger, crisper and much more powerful. Drums crisp, crack, reverberating, while the bass is prominent, slow and moody. Accompanying them, are bright, chiming guitars, which produce a melodic sound. It’s assisted by an organ which contributes a light, bright sound, while percussion is sparsely interjected. No effects are deployed, which is no bad thing, allowing the listener to luxuriate in some excellent rhythms, and an arrangement that’s bright, melodic, and hugely enjoyable. After two great tracks in a row, I’m almost willing to forgive Sly and Robbie for the two unsatisfactory tracks that opened the album.
Listening to Space Invaders takes me back to 1982, the year this album was produced, and when games like space invaders were the cutting edge of technology, the latest thing. Looking back, games like that haven’t aged well, but has this track? A soaring, screaming guitar is accompanied by squelchy, synths that reverberate, the brass section and some strong rhythms. The drums are still crisp, cracking powerfully, while the bass is dark and quick, producing a heavy sound. Space Invaders chugs along, a melange of guitar solos that wouldn’t sound out of place in Guitar Hero, joyful interjections from the brass section and a rhythm section that provide the track’s heartbeat. Even the synths sit well in the arrangement, with a less is more attitude taken by Joe Gibbs. Here, Joe doesn’t deploy his effects box much, but still produces another great track, which features some amazing guitar playing.
After a less than promising start to Syncopation, things have taken a turn for the better. However, always in the back of my mind is the thought that, lurking round the corner, is a car crash track. Hopefully, that’s just the pessimist in me, and that Nighthawk will be another good track. As the track opens, a piano, powerful rhythm section and multitude of beep and squeaks from a synth make their presence felt. It’s an intriguing combination, with a deep, quaking bass and metronomic drumbeats, supplemented by various sound effects, crackles, beeps and squelches thanks to they synth. This is a very different sounding track, with the power of the rhythm section sitting well with what were space age sounds in 1982. Unlike other albums which feature similar synths, this track has aged well. It doesn’t sound dated, or of its time. Instead, it’s like an acid house track, with the resulting squelches, squeaks and beeps having a sound that’s endearing and stood the test of time well. Add in some subtle effects and I’m hooked by Nighthawk. By the end of the track, I’ve come to the conclusion that this quite different sounding track, is one of the album’s highlights.
A melodic piano, squeaky synth and rhythm section open Laser Eyes, a track that sees just a modicum of delay used to transform the sound. Here, Robbie’s bass playing is excellent, slow, dark and moody, while Sly’s drumming is slow, crisp and powerful, augmented by percussion. Delay and echo are used carefully, with care being taken not to destroy the sound, just transform it slightly. Meanwhile, a piano drops in and out of the arrangement, its sound bright and melodic, a contrast to drums cracking like pistols. Here, the rhythm are strong and powerful, while guitars chime and a keyboard interjects. Its sound is a mixture of light and darkness, with the darkness tending to dominate. Having said that, it isn’t a gloomy sound, there is a melodic side to the track, in among some pulsating and sharp rhythms. However, what makes the track for me is Sly and Robbie, one of the greatest rhythm sections in reggae music, their contributions make this another great slice of dub reggae.
Syncopation closes with Flight To Nowhere which opens with bouncy drums, a joyous brass section and Robbie’s bass sometimes slow and dark, other times quick, fast and weighty. Always, his playing is accurate and sparse. Effects are used quite heavily here, echo and delay being Joe Gibbs choice of weapon. It’s a track of contrasts with the bass providing a dark, moody sound and the drum sound dulled by effects. Percussion and brass section deliver a brighter, upbeat sound. During the track, an organ plays, with effects stifling its contribution, and its beauty not shining through. When effects are deployed, it dulls the arrangement down, giving it a lovely dubby sound. My only quibble with the track is the ending. One minute the track is meandering along, the next, it grinds to a sudden halt, and Flight To Nowhere, is going nowhere indeed. However, that only detracts slightly from what is otherwise, a wholly satisfactory slice of dub.
SInce I bought Syncopation some years ago, my opinion of it hasn’t changed. It’s an album that gets of to a really mediocre start, with the opening two tracks just not up to the standard I’d expect of either Sly and Robbie or Joe Gibbs. Somewhere along the line, the quality control has gone awry. After, the first two tracks, I was beginning to think that Syncopation was going to be a pretty poor album. Thankfully, Sly and Robbie quickly got things back on track after that, with the other six tracks on the album being much better. The album was produced at a time that Sly and Robbie were incorporating computers into the music making process, and it seems that synths were very much flavor of the month. During the album, they used synths, but thankfully, didn’t overuse them, because after a while, that would begin to grate. Like most of Sly and Robbie’s music, the rhythms are strong, as you’d expect from one of the best rhythm sections in reggae music. Joining them on the album, were some talented musicians, and of course Joe Gibbs, one of reggae music’s best know producers. Together, they helped make this a good album. It isn’t a great album, merely a good album. Sly and Robbie have produced many great albums during their long career, but this isn’t vintage Sly and Robbie. Having said that, if you’re a fan of Sly and Robbie, you may enjoy the album. Should you decide to buy this album, it’s available as part of The Evolution of Dub Volume 4 box set on Greensleeves Records, along with three albums by Joe Gibbs. This is a cheap way to buy four dub albums, and will allow you to make your mind up about how good an album this is. Standout Tracks: Earthscan, Flirting In Space, Nighthawk and Laser Eyes.
SLY AND ROBBIE-SYNCOPATION.
CANDI STATON-STAND BY YOUR MAN.
CANDI STATON-STAND BY YOUR MAN.
Many people who regularly read this music blog will have realized that I’m a great lover of Southern Soul music. Two labels in particular, were the home to some of my favorite artists who during the sixties and seventies, released some of the greatest Southern Soul music ever recorded. These were Hi Records, home to Al Green, Otis Clay, O.V. Wright and Ann Peebles, all produced by the man with the midas touch, Willie Mitchell. Meanwhile, Rick Hall’s Fame Studio had Arthur Alexander, Arthur Conley, Wilson Pickett and the lady who gained the title the First Lady of Southern Soul, Candi Staton, recorded some brilliant Southern Soul music. Between 1969 and 1972, Candi released three albums and had sixteen R&B hit singles. During that period, Candi established her reputation as one of the greatest female soul singers. Her debut album was I’m Just A Prisoner released in 1969, and an album I’ve reviewed before. The album this article is about is her 1971 album, Stand By Your Man, an album that saw Candi nominated for a Grammy Award. She was nominated for her version of the title track, Stand By Your Man, which in my opinion is the definitive version. Forget Tammy Wynette’s version, Candi’s version is just so much better. Her third album entitled Candi Staton, released in 1972, was her final album for Fame. Like her previous album, one of the tracks was nominated for a Grammy Awards. In the Ghetto, a track recorded by, and synonymous with Elvis Pressley, was nominated for a Grammy. Each of the three albums feature some great music, and are a must have for anyone who loves Southern Soul music. Of the three albums, my favorite has always been Stand By Your Man, and I’ll now tell you why.
Stand By Your Man opens with the Grammy Award nominated title track, Stand By Your Man. Although Tammy Wynette’s version may be better known, this version to me, is the definitive version. The track opens with guitars, rhythm and string sections and piano combining, as Candi’s vocal enters, accompanied by backing vocalists. When Candi sings, she brings the song to life, injecting her heart and soul into the lyrics, giving a heartfelt and emotive delivery of them. Accompanying her, are backing vocalists who subtly, and soulfully unite, providing the perfect accompaniment for Candi’s stunning vocal. Behind her, the arrangement is a combination of lush, sweeping strings, piano, steady rhythm section and chiming guitars. They provide the perfect backdrop for Candi, allowing her vocal to take centre-stage, as she produces one of her best performances on the album. This is a stunning track to open a classic album. No wonder it was nominated for a Grammy Award, but how it never won, I’ll never understand
Having opened the album with such a stunning track, Candi has set the bar high. Following Stand By Your Man is no easy task. How Can I Put Out the Flame is the track that’s next, and when it opens, you immediately realize that this is another great slice of Southern Soul, albeit one that sounds as if it has its roots in gospel music. Straight away, the mood is one of sadness, when guitars, rhythm and brass sections combine with piano and organ. When Candi sings, her voice is laden in sadness, and full of drama. Her vocal is strong and powerful, sitting atop an arrangement that has set the sombre mood from the opening bars. It’s a song about love, and the difficulty of a relationship breaking up, and trying moving forward in life afterwards. Candi’s delivery of the lyrics matches the sadness of the lyrics, as if she can empathize with the lyrics she’s singing. This is what she does so well, interprets the lyrics in such a way that she almost lives them. Like the previous track, the arrangement is perfect for the song. It’s slow, melancholy, getting across the heartbreak and sadness of the lyrics. Together with Candi’s heartfelt and moving vocal, How Can I Put Out the Flame, is a worthy successor to Stand By Your Man, demonstrating just how talented a vocalist Candi Staton really is.
When I hear the slow, steady drumbeat that opens I’m Just A Prisoner (Of Your Good Lovin’), I immediately hear similarities with the drum sound on certain Phil Spector tracks. However, that’s where the comparisons end. This is very different to anything Phil Spector ever produced. Here, the track starts slowly, with the drums dominating the sound, before percussion, guitars and bass combine. After that, the tempo increases, and arrangement fills out, with chiming guitars and the rhythm and brass sections dominating the sound. Meanwhile, Candi delivers the lyrics about being hopelessly in love with a combination of power and passion. You can fail to be impressed by the way her vocal soars, as she almost screams and roars the lyrics, but not once losing control of her voice. Like the two previous tracks, it’s Candi’s vocal that steals the show. Here, she gives one of her most powerful and passionate vocals on the album, and in the process, brings this song to the life.
Me and Mrs Untrue has a much slower and melodic opening, with a Hammond organ, accompanied by the rhythm section and guitars before a trumpet plays, as if announcing the arrival of Candi. Her vocal starts of much gentler, before gradually growing in strength and power, as she sings about a secret extramarital assignation at a hotel. As her vocal grows, so does the arrangement, with grand, stirring strings sweeping, accompanied by a piano, while the brass section drench the track with sadness and atmosphere, at the almost seedy scenario Candi sings about. Candi’s delivery of the lyrics is so realistic, that you can almost imagine the scenes unfolding before your eyes. You can picture the awkwardness, the fear of being discovered and the sense of danger that the duo would be aware of. Candi allows you experience this scenario over three and a half minutes, with the help of another great arrangement from Rick Hall. Quite simply, this is easily one of the best tracks on the album, and is by far, the best version of this song that I’ve ever heard.
On the original album, the final track on the first side was Too Hurt To Cry, another song about falling out of love, and a man leaving his partner for another woman. In the song, the woman is heartbroken, having devoted her life to her man, and is so bereft, she’s too hurt to cry. This track features another outstanding vocal from Candi, full of emotion, hurt and sadness, while the arrangement has a bright, sweeping sound that’s full of dramatic peaks and troughs. A piano brightly plays, while the brass and string section combine with guitars and rhythm section as the track opens. Thereafter, the band combine lush strings, short, bright, bursts of brass, with chiming guitars and a driven rhythm section, to produce an arrangement that’s dramatic yet, melodic and catchy. Meanwhile, Candi’s vocal is dynamic, laden emotion, and delivered with power and passion, bringing home the misery and sadness of a relationship that’s gone wrong. Too Hurt To Cry is an example of the type of song Candi sung best during her years on Fame Records. It’s a gut wrenchingly sad tale of love gone awry, delivered with passion and drama, and made all the better by Rick Hall’s outstanding arrangement.
What was the second side of the album, opens with He Called Me Baby. It opens slowly and subtly, guitars chiming, while the rhythm and string sections combine before Candi sings. Her voice is quieter, understated even. This suits the lyrics, with her quieter delivery meaning you tend to focus on her voice, listening intently to the lyrics about love and loving. Having said that, she still deploys some of her immense power later on in the track, but does so sparingly. Behind her, a similarly subtle arrangement unfolds. Strings, guitars and the rhythm section demonstrate that just a few instruments can produce an arrangement full of drama and emotion. By the end of the track, Candi has given a subtle and emotional performance, that demonstrates her versatility as a vocalist. Here, she shows that whether fast or slow, loud and laden power and passion, or quiet, subtle and tender, she can deliver a song just as well.
Sweet Feeling has similarities with He Called Me Baby if you listen carefully to the drums and guitars on each track. It’s the drums and guitars that open the track, playing slowly and thoughtfully, as Candi gives a performance laden in passion and emotion, while a piano and brass section add drama to the track. As the track progresses, it just keeps getting better and better. Not only does Candi’s soaring, passionate and dramatic vocal just keep improving, but so does the arrangement. The longer it goes on, the more its drama tugs at your heartstrings. It matches the passion and drama of the vocal, and is melodic, and laden with hooks. There is an irresistibility to the track, thanks to the arrangement, and of course Candi’s vocal. This is just a hugely emotive track, and one that you just can’t get out of your head. Absolutely stunning and one of the tracks that make this a must have album in any record collection.
It’s a slow and melodic opening to To Hear You Say Your Mine, a track that has its roots in gospel music. When you hear the track, there’s only one place it could’ve been recorded, Memphis. The track opens with a flute, piano and atmospheric Hammond organ accompanying Candi’s slow, thoughtful vocal. Like every track on the album, she gives everything she has as she sings the lyrics about love and longing for someone to be yours. Behind her, Rick Hall’s arrangement is slow, atmospheric and typical of the Southern Soul sound. Guitars, rhythm and brass sections, combine with organ and piano, producing an arrangement laden with drama and emotion. Here, both Candi and the arrangement are at one, combining masterfully to produce a track that can’t fail to move even the stoniest heart.
What Would Become of Me sees piano and Hammond organ combine, before guitars and the rhythm section enter along with Candi. Her voice has an inherent sadness as she considers whether she can live without her man. As her voice rises, soaring full of sadness and emotion, the arrangement sympathetically grows. The brass section interjects, short, sad bursts, accompanied by shimmering, chiming guitars, piano and steady rhythm section. However, they’re just a conduit for Candi’s powerful, vocal laden in drama and passion. Again, she lives the lyrics, bringing home the reality of the lyrics, making the sense of loss and hopelessness almost tangible. This is something that not many vocalists can do. They can sing about it, but can’t bring the lyrics to life. That takes someone special, someone like Candi Staton. Along with Rick Hall’s sympathetic arrangement, this is a potent, powerful combination.
Stand By Your Man closes with Freedom Is Just Behind the Door. A combination of guitars, funky bass and atmospheric Hammond organ combine with drums as Candi delivers a vocal that’s full of pride, pride at her independent spirit and bravery at leaving a relationship gone wrong. Horns serenade her, wisdom and bravery, while backing vocalists soulfully interject. The Hammond organ is at the heart of a joyous arrangement, full of blazing horns and bright, chiming guitars, with drums dramatically punctuating the sound. By the end of this joyous track, you feel like shaking Candi’s hand, and saluting her bravery at casting off the shackles of her mean, mistreating man. This celebratory track is the perfect way to end Candi’s second album Stand By Your Man.
At the start of this review, I said that this was my favorite album of the three that Candi recorded for Rick Hall’s Fame Records, and said that I would tell you why. Well, the reasons are quite simple and straightforward. On the album are ten great songs, which Candi brings to life with performances laden in emotion and passion. She delivers many of the songs powerfully, others thoughtfully. During each track, she delivers the lyrics with everything she has, giving something of herself during each performance. She is by far, one of the greatest soul singers ever, able to bring a song to life, injecting feeling and emotion, and delivering the song thoughtfully or passionately. As I said earlier, Candi lives each song, and this is demonstrated perfectly on tracks like Stand By Your Man, Too Hurt To Cry and To Hear You Say Your Mine. Someone who played a big part in Candi’s success was producer Rick Hall. His production is almost flawless, and he seemed to be able to bring out the best in Candi Staton, resulting in three great albums and sixteen R&B hit singles. One group of people who we mustn’t forget, are all the musicians who played on this album. At Muscle Shoals, she worked with some of the best musicians in America, veterans of soul music who seemed to have an innate ability to play just the right notes, at just the right time. Together with Rick Hall, they helped Candi produce some of the best Southern Soul music that you’ll ever be privileged to hear. The music on Candi’s three albums for Fame is timeless, with Stand By Your Man being the best of the three. So, if you’re one of the many people who when Candi Staton is mentioned, think of her later disco classics like Young Hearts Run Free, why not discover the real Candi Staton, the woman once crowned the “first lady of Southern Soul.” Standout Tracks: Stand By Your Man, Me and Mrs Untrue, Too Hurt To Cry and To Hear You Say Your Mine.
CANDI STATON-STAND BY YOUR MAN.
DR JOHN-GRIS GRIS.
DR JOHN-GRIS GRIS.
Imagine the scenario that I’m going to describe, because it really happened, and it demonstrates that even the most experienced people in the music industry get things wrong. In January 1968, Dr John had completed his debut album Gris Gris, but when Ahmet Erteghun at Atlantic Records heard the record, he disliked the album so much, that he was reluctant to even release the album. On hearing the record, his response was “how can we market this boogaloo crap?” However, the album was released, and as Ahmet Erteghun forecasted, the album wasn’t a commercial success, failing to chart. However, since then, critics have changed their initial opinions of the album, with most modern-day reviewers recognizing the importance of Dr John’s debut album, which is a combination of psychedelia, R&B and the authentic music of the melting pot that is New Orleans. Nowadays, Gris Gris is recognized as one of the most important albums ever released, and is included in Rolling Stone magazine’s list of the 500 most important albums of all time. Since the release of Gris Gris, Dr John has released over twenty studio albums, proving that even Ahmet Erteghun sometimes got things wrong.
Before Dr John recorded his debut album, he was still Mac Rebennack, an experienced session musician, songwriter and producer, who played both rock and R&B music. In 1965, he’d relocated to Los Angeles from New Orleans because of drug problems and problems with the feds. It was there that he met a group of new Orleans session musicians, with whom he joined, playing various sessions, assisted by Harold Battiste, an arranger from New Orleans. However, Dr John wanted to make an album, but an album with a difference.
Dr John’s concept for the album was intriguing. The album was to combine the different styles of New Orleans music via a front man and lead singer called Dr John Montaine, who said he was an African potentate. He chose the name because his sister knew about Dr John Montaine. Originally, it was Ronnie Barron, a New Orleans singer, who Mac Rebennack wanted to be lead singer and take on the persona of Dr John. His manager Don Costa felt this wasn’t right for Barron’s career, so Mac Rebennack decided to don the persona of Dr John.
This was the lineup that headed into the Gold Star Studios in Los Angeles to record what would become Gris Gris. It wasn’t the best start for the band with a singer who was unprepared, and about to record their debut album. When they arrived at the recording studios, even they didn’t go smoothly. When Dr John arrived at the studio in LA, there wasn’t a studio available for him to record in, until a studio that was reserved for Sonny and Cher became free. Seizing the opportunity that came their way, seven songs were recorded, including Mama Roux and I Walk On Guilded Splinters. Once the album was completed, Dr John sent the album to his record company Atco, a subsidiary of Atlantic, where Ahmet Erteghun dismissed the album. However, since then, Gris Gris has been recognized as a hugely important, classic album, which I’ll now tell you about.
Gris Gris opens with Gris-Gris, Gumbo Ya Ya a song that epitomises Dr John’s new persona perfectly. The sound is dark, really dark, bringing to mind an atmosphere where Dr John’s candles and incense, help set the scene for Dr John, resplendent in his costume of feathers, surrounded by the paraphernalia and trinkets of his grandiose new identity, before he makes his debut as newly crowned musical potentate. A guitar soars, before a husky, whispery vocal from Dr John enters, accompanied by a multitude of otherworldly sounds, percussion and backing vocalists. It’s a mixture of psychedelia and R&B, with rhythm section, percussion and horns combining to produce a sound that is spooky, eery and just a bit unsettling. You wonder what the good Dr is hoping to achieve in this nocturnal sounding journey? Is he trying to contact long forgotten spirits, or raise the dead? Whatever, he hope to achieve, he has produced an intense, atmospheric and quite brilliant track, that’s best listened to late at night, in the dark, with someone to hold your hand when these unsettling sounds emerge from your speakers.
The unsettling, eery atmosphere continues with Danse Kalinda Ba Boom, which opens with a melange of chanted vocals, dark, booming drums, and an intense combination of prominent percussion and frenzied, repetitive vocals. Together, with mandolins, flutes and whistles, congas and guitars, Dr John takes you a walk on the dark side of New Orleans. Goodness knows what rituals are being performed in the studio given the darkness, intensity and ferocity of the music. What makes the experience even more edgy, and even dangerous, is the way the music has been separated, and different instruments and sounds can be heard from different speakers. By the end of this fascinating combination of chants, rhythms and percussive diversions, you’re hooked, in love with the music, and in awe of Dr John’s vision and bravery at releasing such and ambitious and inspirational music.
After the two previous authentic slices of the dark side of New Orleans, things change quite drastically with Mama Roux, a track that has a brighter, more traditional sound. As the track opens it’s a combination of rhythm section, guitars and percussion accompanying backing vocalists, before Dr John regales us with the tale of Mama Roux. Here, he takes on the persona of the fast talking, pseudo mythical potentate. His vocal is atmospheric, whispery, and husky, with the backing vocalists a complete contrast, their voices sweet and melodic. Behind them, a jumble of percussion, drums and guitars provide a backdrop that’s very different to previous tracks. Gone are the edgy, eery sounds and in, is a much more melodic sound. Here, Dr John demonstrates his skill as a vocalist, on a track that has a much more subtle arrangement. It’s quite simply one of the best tracks on Gris Gris, and even today, is one of Dr John’s legion of fans favorite tracks.
Danse Fambeaux begins with a mandolin playing, before some slick guitars licks join a melange of whistles, percussion and rhythm section, as if announcing the imminent arrival of backing vocalists and the newly appointed potentate Dr John. The backing vocalists unite against soulfully and spiritually before Dr John gives one of his most haunting, otherworldly vocals, seemingly embracing his new identity. His vocal one part, haunting and otherworldly, the other part theatrical and grandiose. It seems as if his new mysterious alter ego, is perfect for the mysterious concoction of psychedelia and R&B. Like the arrangement, which is a mixture of exotic and sometimes moody, percussion, haunting voodoo drums, bringing to mind visions of mystery, faux spirituality and darkness. Together, they combine magically, creating a song that’s a masterful concoction of haunting and otherworldly sounds and vocals.
When Croker Courtbullion opens, immediately, your dark gothic journey through the sights and sounds of New Orleans underbelly continues. Quickly, drums rumble and reverberate, more of those slick guitar licks, which soar and chime as a harpsichord melodically plays while percussion, and a dark moody bass combine. The tempo is quick, nearly frantic, with the track drifting towards a discordant destination, only to be rescued at the last minute. Vocals, haunting, chant, as an eery flute plays, congas quick and sharp play, as somewhere in the distance, sounds that are almost indescribable can he heard. You can hear Screaming and shrieking, dogs barking, and that’s just some of the things that you hear. Quite simply it’s an intriguing piece of music, where although you find yourself at the edge of your seat, you just must hear what happens next. Although very different, totally unorthodox, and out of step with the music of 1968, it’s unique, original and strangely, totally riveting and hugely listenable.
Distant percussion, opens the track before backing singers unite, soulfully interjecting as a banjo plays a melodic, catchy solo before Dr John sings the lyrics to Jump Sturdy. Here, if you listen carefully, there’s a hesitancy to his vocal, with him singing his lyrics either to soon, or at the wrong time. He has to stop himself, then after regaining his composure, goes again. It’s a very much warts and all version of this track, complete with percussion and dark, moody bass. Having said that, he gives a great vocal, laden in charisma and emotion, his voice loud and confident. The track lasts just under two and a half minutes, and I’ve always felt that this track could’ve been extended, made into something even better, an epic track, like the previous track. However, it’s still a great track, one of the best tracks on Gris Gris.
Gris Gris ends with another track that has long been a favorite of mine I Walk On Gilded Splinters, a track that when Dr John performs live, brings to life, injecting the sheer force of his personality and charisma into. It’s a dark, moody sound that opens the track, congas, percussion accompanied by a choir of finger-clicks that accompany Dr John’s equally mood, atmospheric vocal. When the backing vocalists enter, their voices have a distant, haunting sound, matched by a swampy, eery otherworldly arrangement. A clarinet plays, its sound haunting, while congas and percussion combine in producing one of the eeriest and moodiest arrangements on the album. However, the man that makes this the best track on the album is the former Mac Rebennack, newly anointed potentate Dr John. Quite simply, his performance is stunning, charismatic, eery and atmospheric. This is a great track to end the album, one with a great arrangement and stunning vocal.
Listening to Gris Gris, it’s a debut album like no other. One can only the look on Ahmet Erteghun at Atlantic Records when he played the album. He must have wondered what on earth was going on. However, he wasn’t the person who never saw the potential and brilliance in Gris Gris. It was only many years later, that a new generation of reviewers revisited Gris Gris with an open mind, and realized just how good an album it really is. Granted, it’s not the easiest album to listen to. Many people just don’t understand the album. I’ve loved the album since I first heard it many years ago, but many people can’t seem to “get” Gris Gris. If however, you listen to this album with an open mind, and persist with it, you’ll soon find and see the beauty of the album. The music on the album is excellent, a cosmic combination of psychedelia and R&B, which brings to live the other side of downtown New Orleans. After Gris Gris, Dr John released Babylon in 1969, Remedies in 1970 and The Sun, The Moon and The Herbs in 1971. Along with Gris Gris, these are some of the best albums Dr John released. in fact, the albums he recorded on Atco, contain some fantastic music, and if you have never heard Dr John’s music, these are a good place to start. Standout Tracks: Gris-Gris, Gumbo Ya Ya, Mama Roux, Jump Sturdy and I Walk On Gilded Splinters.
DR JOHN-GRIS GRIS.
BILLY PAUL-LET ‘EM IN.
BILLY PAUL-LET ‘EM IN.
Mention the name Billy Paul to most people, and the response is to say the least predictable, with most of them saying oh yes, he recorded Me and Mrs Jones. This is true, and provided Billy with best known hit single, from his critically acclaimed and commercially successful second album on Philadelphia International Records, 360 Degrees of Billy Paul, released in 1972. It was this album that helped make Billy Philadelphia International’s first male superstar, helping him cross into the mainstream. However, there is much more to Billy Paul than Me and Mrs Jones. During a career that started in 1968, with his debut album, Feelin’ Good At the Cadillac Club, through to the eight albums he recorded for Philadelphia International, with the help of legendary production duo Gamble and Huff, Billy Paul’s music combined elements of jazz, R&B, funk and pop.
Let ‘Em In, was Billy’s sixth album for Philadelphia International, released in 1976. The album takes its title from Billy reworking of a track made famous by Wings and written by Paul McCartney. However, Billy takes what was a somewhat average track by Wings, and rewrites the lyrics paying homage to some of the people who inspired him. Suddenly, a decidedly average, insipid song is transformed thanks to Billy’s rewritten lyrics and dynamic performance. This wasn’t the only well known song on the album which Billy would cover. Without You, written by Pete Ham and Tom Evans, and made famous by the late Harry Nilsson is also covered by Billy. Again, the original isn’t to everyone’s liking, but Billy does his best to inject some passion and emotion into a song that put the S in saccharine. When Let ‘Em In was released, it was on the back of three singles that hadn’t been a huge success, the album faired slightly better. It reached number twenty-seven in the US R&B Charts, spending seventeen weeks on the charts. Many people may think this album wasn’t a huge commercial success, but things must be taken in context. Back then, there were many great soul vocalists, even on Philadelphia International. These include Lou Rawls and Teddy Pendergrass, the latter having left Harold Melvin and The Blue Notes to pursue a solo career. Another factor was the emergence in popularity of disco, which affected sales of previously successful soul artists. Even Bobby Womack, another soul superstar, had been released by his record label. So maybe, the performance of Let “Em In wasn’t so bad after all. Thirty-five years after the album’s release, I’m going to revisit Let “Em in, and decide whether it was an album that deserved to do much better than it did.
The album opens with the title track, Let ‘Em In, with the lyrics rewritten by Billy. This version breathes new life into a track that originally, was insipid at best when performed by Wings. Straight away, the track bursts into life with pounding drums and joyous horns, before guitars and powerful bass announce the arrival of Billy Paul. When his vocal enters, it’s loud, joyful and full of emotion as he brings the song to life, with the help of a crack band of musicians. Samples are used during the track, the Reverend Martin Luther King’s inspirational words flitting in and out the track several times. During the track, horns punctuate the track, while strings sweep in the background as guitars chime and a piano plays. Together with the addition of the samples, this provides the perfect backdrop for Billy’s brilliant vocal, one that’s powerful and laden with passion and joy. It’s an outstanding track, totally different and much better than Wings’ original version.
We All Got A Mission is a track that was written by Kenneth Gamble, Leon Huff and Carl Gamble. Like many of Gamble and Huff’s tracks, it’s a song with a positive message, about changing the world, turning it around and how everyone must play their part. Matching the message is an upbeat, past-paced arrangement that combines funk and soul. Blazing horns, funky bass and drums, combine with lush, sweeping strings before Billy, accompanied by backing vocalists, delivers this message of positivity. The arrangement is dramatic and sweeping, with powerful waves of music unfolding. Billy’s rendition of the lyrics is powerful and emotive, surrounded by dramatic bursts of horns and keyboards, while the rhythm section drive the track along in a funky direction. Both the arrangement and vocal are drenched in drama, with the arrangement a dynamic mixture of elements of funk and soul.
After two tracks where the tempo has been quick, the arrangements fulsome, Billy drops the tempo just a bit, on How Good Is Your Game. Here bass and acoustic guitar open the track before drums, horns and chiming electric guitars join in, accompanying Billy and his hugely soulful backing vocalists. Throughout the track, their sweet interjections are a perfect accompaniment for his deep, charismatic voice. Strings appear, disappear and reappear, while horns briefly, blaze, as the arrangement begins to sound both lush and melodic. This is partly due to the addition of the backing vocalists, and the careful and sparing use of the strings and horns, combined with the rhythm section and chiming guitars. Since I first heard this album, this track has been one of my favorites. What makes this such a good track is the interplay between Billy and the backing vocalists, and Dexter Wansel’s arrangement of the track.
Dexter Wansel played an important part on this album, producing and arranging five songs, with two songs he’d written featuring on the album. The first is Love Won ‘t Come Easy, which he arranged and produced. As someone who has been familiar with Dexter’s music for some time, straight away, I can hear his influence on this song, which combines soul, funk and disco. When the track opens keyboards, a funk laden bass and bouncy drums, are accompanied by horns, before Billy enters, his voice higher, as he quickly sings the lyrics. Here, the arrangement sweeps along quickly, with a disco sound and feel apparent. It’s a track that you can immediately date to circa 1976, because of the arrangement. Much of this is to do with the tempo, and the way the drums, keyboards and strings sweep quickly along. Funk also makes its presence felt, via the rhythm section’s contribution, but mostly disco is the influence. Billy however, delivers the lyrics well, injecting some much needed soul into the track. By the track’s end, you wonder how we got from Let ‘Em In to Love Won’t Come Easy in just four tracks. There is a huge difference in style and quality in them. To many people, who are traditionalists, and prefer Billy’s music circa 1972, this will be an anathema to them. Personally, this is a track that I like, as I’m a fan of seventies disco music, and like Dexter’s arrangement of the track, and Billy’s very different vocal style.
Without You is a track that brings to mind numerous made for television compilations that are usually released at Christmas or Valentine’s Day. They tend to feature emotional ballads, like Nilsson’s Without You, which is the next track on the album. I’ve always thought that those type of records are only ever played by people when a relationship has broken up. I can imagine people sobbing their heart’s out, while finishing off a cheap bottle of wine, while listening to saccharine sounding songs like Without you and its ilk. When I first bought this album, and realized that Billy had covered Without You, my first reaction was why? After all, there are many songs that are much better than this. So it was with a wry smile on my face that I first listened to this track. A piano accompanies Billy as he sings the lyrics, his voice has a husky sound, as he injects emotion and sadness into the track. Quickly, the drama builds up, thanks to drums and piano, before some suitably lush strings sweep in. By now, the arrangement is drenched in sadness and emotion, Billy giving a heartfelt delivery of the track, accompanied by subtle backing vocalists. Over and over, the arrangement builds up the drama, hoping to hit a home run in the emotional stakes. This it succeeds in doing, and giving a fair assessment of the track, the arrangement is good, Billy delivers the song well, but sadly, this is just the wrong song for him. Billy needs something less saccharine, more ballsy, something that will allow him to demonstrate his considerable talents much better.
After nearly overdosing on the saccharine of Without You, Word Sure Gets Around is a much better song, a sad, melancholic ballad, that’s much more suited to Billy’s considerable talents. Here, he really demonstrates just what made him a huge star, giving a performance full of emotion and regret. A piano accompanied by horns, rhythm and string sections combine, before Billy’s vocal enters. By then, the arrangement has built up, becoming hugely dramatic, with the sound wistful and melancholic. Billy puts everything he has into the track, as if desperate to make amends for the saccharine Without You. His voice is at its soulful best, bringing the lyrics to life, as if he has lived them several times over. Dexter Wansel’s arrangement is perfect for the song, full of drama, emotive and at times, beautifully lush. Together, this is quite a potent combination, that results in one of the album’s best songs.
Trust You opens with chiming guitars and the rhythm section giving a subtle performance before a tender and gentle vocal from Billy enters. Straight away, it’s apparent this is a beautiful song, one written by two musical geniuses Gamble and Huff. Their lyrics are about being love and the way you trust your partner. They’re easily, some of the best on the album. They entrust Bobby Martin to arrange and produce the song, and he doesn’t let them down. The arrangement features some of the lushest strings on the album, some subtly soulful backing vocals with the band giving a thoughtful, understated and melodic performance that allows Billy’s vocal to shine. He gives one of his best vocals on Let ‘Em In, delivering the song thoughtfully, with a tenderness. This absolutely beautiful track makes up for Without You, and for anyone who likes loves songs, this is an example of what a love song should sound like.
Let ‘Em In closes with I Think I’ll Stay Home Today, the second song written by Dexter Wansel. This is the best of his two tracks, and like the previous track, is a song about love. The similarities don’t end there. Here, the tempo is slow, the arrangement has a beautiful sound, lush, melodic and almost sweet. Again, Billy gets an opportunity to demonstrate just how good a voice he has. He sings the lyrics with feeling, and again, with a tenderness. His vocal is accompanied by more lush, sweeping strings, bright bursts of horns, chiming guitars and a rhythm section that’s at the heart of everything good during this track. It’s a track of two parts almost, with the first four minutes the tempo slow, the arrangement sweeping along beautifully, the arrangement both lush and melodic. However, after four minutes, the track heads off in a funky direction, driven along by the rhythm section, ably assisted by strings and horns, giving the track a grand, sweeping sound. This change in direction and style, provides quite a contrast, transforming the track, and to me, makes the track even better. By the end of the track, you realize that Billy has kept one of the best tracks until last. To me, it bookmarks the album well. It started with Let ‘Em in, an outstanding, memorable track, and closes with another track that allowed Billy to display his considerable talents as vocalist.
Although when it was released in 1976, Let ‘Em In only reached number twenty-seven in the US R&B Charts, that didn’t make it a bad album. Quite the opposite. Most of the tracks on the album are really good, with Without You being the only one that I just don’t like. Yes, Billy delivers it well, and the song has a good arrangement, but to me, it’s just the wrong song for Billy. Apart from that, it’s a good album. One track, however, that may divide opinion is Love Won ‘t Come Easy, the disco influenced track produced by Dexter Wansel. Personally, it’s a track that I like, but then, I do like seventies disco music. Purists, who prefer the much more traditional Philadelphia International sound may not like the track, but it all depends on your taste. Of the other six tracks on the album, Let ‘Em In is obviously the best track. How Billy transformed what was an insipid, almost turgid track, into something dynamic and powerful is quite amazing. He was able to breath new life into a tired track, by rewriting the lyrics and with Jack Faith’s excellent arrangement. My other favorite tracks from the album are two tracks penned by Gamble and Huff We All Got A Mission and Trust You, which are both great tracks, and demonstrate that Gamble and Huff, as well as being brilliant arrangers and producers, were hugely talented songwriters. Another man who had a huge influence on the album was Dexter Wansel. His contribution was considerable, and of the five tracks he produced, four worked, the exception being Without You. I Think I’ll Stay Home Today the second track he wrote on the album was a fitting track to close the album. It featured a great vocal from Billy and good arrangement from Dexter. Overall, Let ‘Em In is an album I really enjoyed, featuring some great music from one of the most talented soul singers, Mr Billy Paul. Standout Tracks: Let ‘Em In, We All Got A Mission and I Think I’ll Stay Home Today.
BILLY PAUL-LET ‘EM IN.
THE TEMPTATIONS-PSYCHEDELIC SHACK.
THE TEMPTATIONS-PSYCHEDELIC SHACK.
When people think of The Temptations music, they think of singles like My Girl, People Get Ready and Ain’t To Proud To Beg, their early songs, released on the Motown label. This was among some of the greatest music Motown ever released, it truly was sweet soul music. However, there was much more to The Temptations music than this. By autumn 1968, and inspired by Sly and the Family Stone, The Temptations entered their psychedelic period. Many people are unaware of this period in the group’s career, and are astounded that over a two year period, and four albums, The Temptations mixed Motown with rock and psychedelia, resulting in albums where the sound was harder, and very different to their traditional sound. On the album, are hard, rocky guitars and multi-tracked drums, with sampled sound effects courtesy of synthesizers. Even the vocals, which you’d have thought sacrosanct, were transformed, via stereo-shifting.
Psychedelic Shack was the final album, by what was, the third version of the group. Whilst the album was being recorded, Paul Williams was suffering from sickle-cell disease and problems caused by addiction to alcohol over a a five year period. This meant that sometimes, he wouldn’t be able to record his vocals with Richard Street, lead singer with The Monitors, a friend of Otis Williams taking his place. As if this wasn’t bad enough, Eddie Kedricks was becoming annoyed at the way their label Motown were treating them, and there was some bad feeling between Eddie and Melvin Franklin and Paul Williams. This contributed to Eddie leaving the group in early 1971. Another thing frustrating Eddie was how little creative control the group had over their music. The only thing Norman Whitfield allowed the band creative control over, was Eddie being allowed to arrange some of the vocal harmonies on the album. Everything else was Norman Whitfield’s responsibility. He had total creative control on Psychedelic Shack. For four months, between November 1969 and February 1970, Whitfield and The Temptations worked hard, recording eight tracks. The big question however, was how would The Temptations’ fans respond to the album.
March 1970, saw Psychedelic Shack released, with the album reaching number one in the US R&B Charts, where it stayed for four weeks. Meanwhile, the album reached number nine in the US Billboard Pop Charts. Unlike today, only one single was released from the album. This was Psychedelic Shack, which reached number two in the US R&B Charts and number seven in the US R&B Charts. Psychedelic Shack marked the end of The Temptations’ psychedelic period. It was a huge commercial success, and critically acclaimed album, but just how good an album is it? Has it stood the test of time well? That’s what I’ll now tell you.
Psychedelic Shack opens with the title track, which has an unusual opening, with a door being knocked, the footsteps of someone who has strayed into unfamiliar territory, finds a record player, and upon putting the needle on the record, is greeted with the familiar strains of The Temptations number one single, I Can’t Get Next To You. Quickly, this segues into the opening bars of Psychedelic Shack, when straight away, you realise that this is very different to their previous work. From the start, guitars, rhythm section and vocals pan backwards and forwards. One minute the music moves from left to right, the next, right to left. Guitars are hard and rocky, but sometimes funky with a wah-wah sound, while drums and percussion are loud and prominent. During the track, each of The Temptations get an opportunity to sing lead vocal. The range in styles from Dennis Edwards’ tenor, Eddie Kendrick tenor/ falsetto, Paul and Otis Williams’ tenor baritone to Melvin Franklin’s bass, make this an intriguing, but still soulful, mixture of styles and sounds. Combined with an arrangement that’s a fast-paced and amazing combination, of rock, psychedelia, funk and soul, that demonstrate a very different side to The Temptations, where they create one of the earliest examples of sampling used on a track.
You Make Your Own Heaven and Hell Right Here On Earth sounds like something you’d read in a book full of cod psychology, that tells you that with positive thinking, you can change your life. However, it’s not, it’s the second track on the album, and is a song with a message. The Temptations’ message is that everyone is responsible for their own fate, and when they do right or wrong, it’s their choice. As if trying to grab the listener’s attention, dramatic, stirring strings sweep in as the track opens, creating an impressive sound. That’s even before everyone except Otis Williams, gets a chance to sing the lead vocal. The rhythm section and guitars, combine with synths, adding to an already dramatic sound, while the vocals are full of emotion and passion, as they deliver their message. This they do brilliantly, and together with an arrangement that’s a pacey combination of string laden funk and soul, and is an excellent track. Incidentally, in 1971, the track was covered by The Undisputed Truth, group Norman Whitfield had mentored.
Unlike the two previous tracks, Hum Along and Dance is a track without lyrics. It’s a track that demonstrates Norman Whitfield’s move towards the instrumentation, arrangement and production, instead of the previous reliance on vocalists. This however, didn’t go down well with The Temptations. At the start of the track, the listener is told that there “ain’t no words to the song, you just dance and hum along,” while guitars and the rhythm section combine. Thereafter, it’s a track where the group scat and improvise while an arrangement full of dramatic peaks unfolds. There’s a dynamism about the track, with drums, bass and guitars a mixture of shrieking and soulful, passionate and powerful vocals combining in dramatic bursts. After that, things slow down, becoming quieter, before again, heading towards a dramatic explosion of funk drenched music. Here, there are similarities with Sly and the Family Stone’s music, which was hugely influential to The Temptations new sound. This is a track of highs and lows. Among the highs are an arrangement full of drama, funky rhythms and a variety of vocals styles. The low is that producer Norman Whitfield never utilized the group’s skill much more on this track, or used them in a different way.
Take A Stroll Thru Your Mind sees the group sing about a subject that has long been a favorite of songwriters, marijuana. The track is almost joined to the previous track, but unlike the previous track, we see The Temptations display their vocal talents more fully, on a track that mixes psychedelia with blues. Here, The Temptations sing an ode to marijuana usage, which back then, was seen as a way to open up your mind, with the attendant dangers not yet having been discovered. An epic track, eight and a half minute long, begins with a dark and moody bass line accompanying an atmospheric vocal, which pans left to right, before drums enter the track. The arrangement has a suitably subtle arrangement backing the vocal. Later, the rest of the group sing tight vocal harmonies, with just a touch of echo affecting them. It’s only after four minutes does a screaming, soaring, guitar solo enter, accompanying some oddball vocal. Keyboards and rhythm section, join the guitars in a bluesy jam, tinged with funk. Still, the bass is at the front of the track, while behind it, blues and funk combine. By the end of the track, it has grown on me. The phrase slow burner, seems designed for this track. It takes a few listens to get into it, with the track taking a while to get going. Like several tracks on the album, it grows on you, and after a while, like me, you’ll grow to really like this track.
It’s Summer was the only ballad on Psychedelic Shack, and is a song about the beauty and positivity of summer, the things that are still to happen, the beauty and wonderment that’s still to unfold. Here, Melvin Franklin recites the lyrics while one of the best arrangement reveals itself. Strings, lush and gentle, sweep behind guitars, rhythm section and percussion, providing a backdrop for Melvin’s recital of the lyrics. Meanwhile, the rest of the group sing gentle, tight vocal harmonies. This track is one of contrasts. The deep bass of Melvin’s spoken vocal, contrasts with the lush arrangement and beautiful, sweet backing vocals. This works here, and is a good track. Personally, the track would’ve sounded better if it had been sung by the group, or another member of the band. Later, on their Solid Rock album, the group rerecorded the album, releasing it as a single.
One of the tracks that will be familiar to most people is War, a track made famous by Edwin Star. Here Paul Williams and Dennis Edwards, sing the anti-Vietnam war song. What I’ve always loved about this track is how they tackle the futility of war head on, with the line “war, what is it good for, absolutely nothing.” The track starts dramatically, with drums playing, and the group adding backing vocals, before the lead vocal enters. Soaring, chiming and screaming guitars, loud dynamic drums and a fast paced bass, drive the track along. Throughout the track, arrangement rises and falls, waves of drama unfolding against the backdrop of marching. From start to finish, the vocal is delivered emotively, a mixture of anger and passion. Anger at the lives wasted, passion that this waste of lives must stop. Both the vocal and the arrangement bring the track to life, easily making this the best track on the album. As anti-war songs go, this is one of the best, although I much prefer Edwin Starr’s version. It to me, is the definitive version of War.
The final two songs on Psychedelic Shack, You Need To Love Like I Do (Don’t You) and Friendship Train are songs that people would normally associate with Gladys Night and the Pips. Both groups recorded their versions of You Need To Love Like I Do (Don’t You) at the same time, with Gladys Night and the Pips’ version being released as a single. Eddie Kedricks sings the lead vocal on a track that opens with rhythm section, percussion, synths, guitars and horns combining, to produce an arrangement that’s dramatic and laden in funk. Here, the tempo is quick, the sound funky, with a driving rhythm section, chiming guitars, blazing horns and tight soulful vocals backing Eddie’s brilliant vocal. He delivers the lyrics with passion and emotion, accompanied by soaring, screaming guitars, while the rhythm section up their game, driving the song along ably assisted by horns. Together, they make this another of the album’s highlights. This is thanks to one of the best arrangements on the album, accompanying an outstanding vocal.
Psychedelic Shack closes with Friendship Train a track that opens with bursts of dark dramatic horns, moody bass and percussion before Dennis Edwards vocal enters. It’s a mixture of drama and joyousness, made all the better by the soulful backing vocals contributed by the rest of the group. Dennis’ message is one of positivity, to make friends, get along and get onboard the Friendship Train. Matching his vocal is an arrangement that’s, fast and funky, a melting pot of sounds and styles. This comprises hard rocky guitars, that head into funky territory, a lovely wah-wah sound emerging, accompanied by blazing, dramatic horns, fast pounding drums, funk laden bass and plentiful percussion. Together, it’s a potent and dramatic, yet funky combination, that’s the perfect way to end the album. It’s a song with an important message, one that’s still important and relevant today, as it was in 1970. Dennis Edwards’ rendition of the lyrics is thoughtful, full of emotion and drama. Combined with an arrangement that’s a fusion of funk, soul and rock, it’s one of the best tracks on the album. It seemed that The Temptations kept two great songs to end the this album, ones that you normally associate with Gladys Night and the Pips.
It’s many years since I first heard Psychedelic Shack, and it was an album that I had to listen to a few times before I really started to enjoy the album. It was so different to The Temptations earlier work, and on the album so much was going on. Since then, I’ve heard the album many times and always enjoy listening to it. If I put this on and the person hasn’t heard the album before, they usually don’t believe it’s The Temptations. Only when you show them the album cover are they convinced. On this album, The Temptations had drawn inspiration from Sly and the Family Stone, who was the master at fusing rock, soul, funk and psychedelia. With Norman Whitfield’s production skills, The Temptations reinvented themselves, and in the process, had an album that was a huge commercial success. Of the eight tracks, most are really good, with Hum Along and Dance a track where the group’s talents weren’t utilized fully and It’s Summer a good enough track, but the spoken recital of the lyrics not quite working for me. It was later rerecorded on the Solid Rock album, and released as a single. These two criticisms are just minor points, and a matter of taste. Apart from that, it’s a fine album, one that demonstrates a very different side of The Temptations, which showed just how far they’d come in just five years. Psychedelic Shack was a long way from their first three hits My Girl, Get Ready and Ain’t Too Proud To Beg. Standout Tracks: You Make Your Own Heaven and Hell Right Here On Earth, War, You Need To Love Like I Do (Don’t You) and Friendship Train.
THE TEMPTATIONS-PSYCHEDELIC SHACK.
LEON WARE-ROCKIN’ YOU ETERNALLY.
LEON WARE-ROCKIN’ YOU ETERNALLY.
Some time ago I was researching an article on Marvin Gaye and his seminal album Let’s Get It On, when I read about how Leon Ware had collaborated with Marvin on his 1976 album I Want You. This was something I’d forgotten, as it was a long time since I’d either listened to I Want You or any of Leon Ware’s music. For many years, I’ve been a fan of Leon’s music, and lurking in a dark corner of my record collection were his albums. Before I listened to them, I put on I Want You. Straight away, I realized what I’d been missing as the familiar strains of Marvin’s music washed over me, and for me, it’s an album that’s hugely underrated. However, what many people don’t realize however, is how close to releasing the album Leon was. Originally, he had planned to release I Want You as his second album, on the Motown label, but when Betty Gordy heard the demos, decided it would be a good fit for Marvin Gaye. After that, Marvin and Leon collaborated, with Marvin co-writing four songs on the album, and Leon co-producing the album. Having listened to I Want You, i turned to Leon’s music. I was spoiled for choice, as I own most of his albums. Once I’d listened to each album, it was decision time. Which of his albums would I review? It was a hard choice, but after a while, I decided to write about Rocking You Eternally, his fourth album, released on Elektra in 1981. This is one of his best albums, and features some great music. Before I tell you about the album, I’ll briefly, tell you about Leon’s career.
Leon was born in Detroit, Michigan, in 1940, and started his career in 1967 as a songwriter. During his career, he was written songs for a number of artists, including Donny Hathaway, The Miracles, The Jackson Five and The Average White Band. He also wrote I Wanna Be Where You Are for Michael Jackson in 1972 and two songs for Quincy Jones’ jazz-funk 1974 album Body Heat. However, one of his most famous tracks is one he cowrote with Minnie Riperton and Richard Rudolph, Inside My Love. This was one of two songs he cowrote on Minnie’s Adventures In Paradise album, the other being Baby, This Love I Have. Previously, I’ve written about Minnie’s career, including Adventures In Paradise, one of her best albums.
Apart from writing songs, he has produced and co-produced albums, as well as releasing eleven solo albums between 1972 and 2008. His debut solo album was entitled Leon Ware, and released in 1972. There was a gap of four years, before he released the follow-up album, Musical Massage, on Motown in 1976. That was one of his best albums, featuring some wonderful music. Leon’s only album that charted was Inside My Love released in 1979, which reached number sixty-two in the R&B Charts. The album this article is about, Rockin’ You Eternally, was released in 1981, on Elektra. After that, the gaps between Leon’s albums became greater, with him busy writing and collaborating with other artists, including Maxwell. Another seven albums followed with 2008’s Moon Ride being released on Stax. However, I like many people, prefer the music on his first four albums. To me this was his “classic” period, when the music he was releasing was of the highest quality. This includes Rockin’ You Eternally, which I’ll now tell you about.
Rockin’ You Eternally opens A Little Boogie (Hurt No One), a fast paced, uptempo track, complete with Leon singing the introduction through a vocoder, surrounded by keyboards, synths, driving rhythm section rhythm and guitars. The track progresses at breakneck speed with Leon’s joyous, but powerful vocal, sounding like the inspiration for Jamiroquai’s later music. Anyone who likes JK will love this. It’s a track that moves melodically along, with a joyful combination of synths, keyboards, funky bass, fast, pounding drums and chiming guitars, that soar. Later, strings sweep quickly in, their sound lush and sweet. During the track, Leon unleashes a vocoder made popular by groups like Kraftwerk. Unlike other tracks I’ve heard, the sound doesn’t grate with Leon deploying it subtly. By the end of what is a hook laden track, sung with power and passion, and featuring an arrangement that’s perfect for any dance-floor, you can’t help but be swept along with this joyous sounding and excellent track.
There’s no let up in the tempo as Baby Don’t Stop Me begins. Although slightly slower, it’s still a quick track, one with a full arrangement. The rhythm section, keyboards and synths open the track, their sound upbeat, a combination of soul and funk. When Leon sings, his voice is just as strong, full of character and emotion, accompanied by backing vocalists how soulfully and subtly interject. Meanwhile, a combination of funk laden bass, punchy drums, guitars and keyboards combine to produce an arrangement where space is at a premium. Like Leon, the arrangement is energetic and upbeat, made all the better by the interaction between Leon and his backing vocalists. While his vocal is loud, joyful and energetic, their interjections provide a contrast, being much gentler, melodic and much more subtle. Together with an arrangement that’s full energy, melodies and rhythms, it’s an irresistible combination. My only quibble however, is that some of the keyboards have a slightly dated eighties sound. Apart from that, it’s a great track.
It’s a lovely lush string lead sound that opens Sure Do Want You Now, with drums, synths and bass combining before Leon enters. When he does, his voice is much gentler, backed by backing vocalists. Here, we’re seeing a glimpse of another side of him, complete with a lovely lush and sweet arrangement. Although his voice is gentle, there’s a slight roughness, almost husky sound that’s can be heard. He delivers the lyrics thoughtfully and carefully, as he sings about his regrets and what he should’ve said before his girlfriend left him. Behind him, the arrangement is still string lead, with the rhythm section and synths combining with them to produce a very different arrangement to the previous tracks. Personally, this track has always been a favorite side of mine. Here, Leon demonstrates just how good a vocalist he is, delivering the lyrics with tenderly and thoughtfully. The addition of backing vocalists and the lush string lead arrangement, helps to make this track, one of the album’s highlights.
After what was a lovely gentle track, the tempo quickens with Our Time, the quickest song on the album. It’s the rhythm section, strings, percussion and keyboards that open the track, producing a sound that’s both bright and dramatic. Again, Leon’s vocal is gentler at the start, but quickly it become much louder, full of power and emotion. The arrangement seems to build, with a bass prominent in the mix, while guitars chime, and strings that wouldn’t sound out of place on a classic disco track, lushly and quickly sweep. Like previous tracks, Leon’s vocal is supplemented by backing vocalists, as an arrangement grand, and full of drama has unfolded. By now, a combination, of some hugely funky bass and chiming guitars, take the track on funk lead diversion, before it returns to grander, soulful territory, with Leon at the helm singing emotively and passionately. This a track that combines funk, soul and disco ends, and does so masterfully, thanks to a great vocal and fulsome, fast paced arrangement.
The title track, Rockin’ You Eternally, is a song that Leon cowrote with Marcus Valle, and is the slowest song on the album. It opens with a combination of bass and piano that combine to create a dark and dramatic sound, before things change when strings, keyboards and a flute combine, before Leon and his backing vocalists enter. Thankfully, the earlier dark sound has been replaced by a much brighter, melodic sound. Already, the arrangement has grown, with strings keyboards, rhythm section and horns combining to produce one of the best arrangements on the album. It’s a combination of a light, melodic, uplifting sound, with sudden bursts of drama. Here, waves of beautiful music unfold, so much so, that it’s hard to focus on particular parts of the arrangement. Much better is to consider it as a whole. Supplementing Leon’s vocal are breathy backing vocals, which seem to gasp in wonder at the beauty of the music. I’m sure that when you hear this gorgeous track, it’ll take your breath away.
Richard Rudolph, Minnie Riperton’s husband, cowrote Got To Be Loved with Marcus Valle and Leon. It’s another of the slower tracks on the album. The track opens with a Rhodes piano playing, creating that unmistakable sound. It’s joined by horns and strings, before quickly, the arrangement grows, with the rhythm section and guitars joining in. Like the arrangement, Leon’s voice grows in power, his voice strengthening, becoming louder, but thoughtful, and laden in emotion. Behind him, yet another beautiful arrangement has unfolded. It has lush, sometimes grand, sweeping sound, that although melodic, features some funky bass playing thanks to Chet Willis. As Leon sings there’s an insecurity in his voice, which matches the lyrics and the longing to be loved. When Leon’s delivery of Richard Rudolph’s lyrics is combined with the arrangement, this is a potent combination, which to me, results in one of the album’s highlights.
Don’t Stay In Our Garden is a very different sounding track, one that’s mostly instrumental. It opens with a huge variety of instruments making their presence felt. Strings, percussion, keyboards, rhythm section and guitars combining to produce a track that has a quick tempo, and a sound that’s a mixture of funk and disco. Occasionally, brief bursts of vocals sweep in, but mostly, disco strings combine with funk laden bass, quick pounding drums, and dramatic interjections from percussion and keyboards. It’s a track that wouldn’t sound out of place on a compilation of classic disco tracks. The is sweet and lush, the tempo about 122 beats per minute, perfect for any dance-floor that needs a retro sound to liven it up.
Rockin’ You Eternally closes with In Our Garden, a much slower song than the previous track. It’s a dramatic sweeping string lead track, with chiming, shimmery guitars, percussion and woodwind combining with the rhythm section before Leon’s breathy vocal enters. He sings the lyrics thoughtfully, with feeling, as the tempo quicken slightly, the same lovely lush and dramatic sound still present. By then, the drama is building, with waves of hugely beautiful music rising and falling, like waves on the sea. Leon meanwhile, gives a heartfelt rendition of the lyrics, while the rhythm section, strings, keyboards and guitars, produce the perfect backdrop for his vocal. My only concern is the inclusion of a sample, which sounds like a radio playing. It to me, slightly spoils the flow of the track. That however, is only a minor point, but after the third time, it begins to grate. Personally, this would’ve been a far better track without its inclusion. Having said that, it’s a good track, although one that could’ve been a great track, to end the album. Leon produced one of his best vocals, absolutely heartfelt, and apart from that sample, the arrangement is really good.
Although many people won’t have heard of Leon Ware, or heard any of his solo material, they may have heard some of the songs he has written for other people. If you own albums by Martin Gaye, Bobby Womack, The Jackson 5, The Miracle or The Average White Band, you may have heard one of his songs. His fourth album, Rockin’ You Eternally features some great music and demonstrated his talent singer songwriter and producer. This album features a combination of slow and fast songs, songs combine soul, funk, R&B and disco. There’s something on the album for everyone. On this album, Leon wrote or cowrote each of the songs on the album, as well as producing the album. As if that’s not enough, he contributed backing vocals on the album. Leon is truly a hugely talented man, and to me, his first four albums are among the best he has ever recorded. If you’ve never heard Leon’s music, this is a good starting point. It demonstrates his versatility as a vocalist, and his talent as a songwriter and producer. Standout Tracks: A Little Boogie (Hurt No One), Sure Do Want You Now, Rockin’ You Eternally and Got To Be Loved.
LEON WARE-ROCKIN’ YOU ETERNALLY.
|
HAROLD MELVIN AND THE BLUE NOTES-WAKE UP EVERYBODY.
HAROLD MELVIN AND THE BLUE NOTES-WAKE UP EVERYBODY.
Recently, I mentioned how I was going to review a few of my favorite albums on the Philadelphia International Records label, with my first review being The O’Jays album Ship Ahoy. This got me thinking about which of the many great albums released on that label would be next. Rooting through me record collection, I came across another of the great albums released on that label, again by one of the groups synonymous with the Philadelphia Sound Harold Melvin and The Blue Notes. This was their fourth and final album for Philadelphia International, and provided the group with their most successful ever album. Released in November 1975, it reached number nine in the US Billboard 100, and gave the group their second number one R&B album. Featuring the voice of the late, great Teddy Pendergrass, this to me, is one of the groups greatest albums, coming close to rivaling their second album the brilliant, Black and Blue.
Wake Up Everybody, features one of the group’s best known songs, Don’t Leave Me This Way, which remarkably, when it was released in 1976, failed to chart in the US, but reached number five in the UK singles’ charts. It was the third of three singles released from the album, with Wake Up Everybody (Part 1) giving the group a number one single in the R&B Singles’ Charts and Tell the World How I Feel About Cha Baby reaching number seven in the R&B Singles’ Charts. With the group at the height of their success, the group changed labels, joining ABC Records. After that, they never seemed to hit the same heights. On ABC, they didn’t have access to Gamble and Huff, the two men behind the success of Philadelphia International Records, who not only produced but cowrote much of their material. Together with changes in the group’s personnel, it seemed that the four albums Harold Melvin and The Blue Notes recorded for Philadelphia International were the greatest years of the group’s career. However, since then, this music has continued to be hugely popular, with many of the groups songs being covered by numerous other artists. Having told you the background to Wake Up Everybody, I’ll now tell you just why this is such a great album.
The title track, Wake Up Everybody opens the album. It’s a song with a positive message, in the face of troubled times, with the message being that if teachers and doctors change the way they tell people things, then maybe the young people, the next generation, will listen and respond positively. Like the songs on The O’Jays album Ship Ahoy, this is music with a message, music as a force for good, music that can change and shape opinions. Waves of melodic keyboards and gentle percussion combine, before Teddy’s husky voice enters, singing the lyrics. Strings sweep, lushly in enveloping his voice, as the tempo quickens, with the music melodic, and beautiful. Behind Teddy, the rest of the band sing tight vocal harmonies, while the rhythm, brass and string sections combine with guitars and keyboards. Teddy’s charismatic and soulful voice, later strengthens, with him almost shouting, instructing the people to wake up and listen. He’s almost preaching, his voice a force for good and change. A combination of an outstanding vocal, and an arrangement that sweeps along, beautifully, melodically and lushly, make this a great track to open the album.
It’s a dramatic and powerful combination of rhythm, string and brass section, combining with guitars and keyboards that open Keep On Loving You, and greet the arrival of Teddy. When he sings, this love song, his voice is powerful, full of emotion and passion, accompanied by the rest of the group who sing the sweetest, tight vocal harmonies. Helping make this track even better, is another great arrangement form Bobby Martin. Lush strings sweep grandly, chiming guitars, and bright blazing horns accompany The Blue Notes, while drums, dramatically punctuate the track. It’s an arrangement that’s grand and powerful, but at the same time, hugely melodic and soulful. Like the previous track, Teddy’s vocal combines power and passion, with him using his full vocal range to deliver some beautiful lyrics. Overall, it’s a fantastic track, melodic, catchy, laden with passion and hooks.
Gamble and Huff cowrote You Know How To Make Me Feel So Good, one of the singles from the album. It’s a much slower track, which opens with the rhythm and string sections combining, while gentle, backing vocals soar gracefully heavenwards in unison. The track is just meandering melodically along, with the arrangement’s beauty gradually revealing itself. When Teddy’s vocal enters, it’s much more tender, and here, he’s accompanied by Sharon Paige who had joined the group. Her voice is equally, gentle and tender, and with the addition of the backing vocals, a gorgeous track is unfolding. Like previous tracks, strings play a large part in the arrangement. They drop in and out of the track, their sound sweet and even tender. There is a subtlety in the playing during the track, with chiming guitars and keyboards making their presence felt gently, while the rhythm section give an understated performance. This allows the vocal to take centre-stage, during what’s another song about love and loving. Both Teddy and Sharon Paige’s voices combine well, and are a perfect match for each other, as they deliver the lyrics. Although quite different in style to the preceding tracks, it’s a beautiful track, thanks to Teddy and Sharon’s vocal, and a lovely arrangement.
Probably the best known track on the album, and by far, my favorite track, is Don’t Leave Me This Way. This, is among the best songs the group ever recorded, and thirty-seven years later, it’s a timeless classic. Those familiar drums and keyboards opens the track, before bright, chiming guitars and sweeping strings combine with Teddy’s voice, harmonizing, before he sings the lyrics. The arrangement, is bright, grand with waves of music unfolding. Quickly, the track takes a dramatic turn, with the arrangement and Teddy’s voice building, accompanied by the rhythm, string and brass section. The Blue Notes supplement his lead vocal, which is laden with sadness and regret, as he pleads with his girlfriend not to go. There’s a desperation in his voice as he sings some of the best lyrics on the album. When it’s combined with an arrangement that’s powerful, and drenched in drama, it’s an irresistible combination. Here Teddy demonstrates just why, after leaving the group, he became a huge superstar in his own right. With a voice that’s capable of delivering a song so emotively and passionately, he was bound to succeed. However, as this classic track demonstrates, the group needed the magic touch of Gamble and Huff, to produce such brilliant music.
Another of the singles from the album was Tell the World How I Feel About Cha Baby which reached number seven in the R&B Singles’ Charts. When the track opens, it’s obvious why this track was such a huge hit. Loud pounding drums, and quick, short bursts of horns are joined by lush, sweeping strings, before Teddy becomes soul man number one, instructing everyone to join in. Quickly a joyous, feel-good track unfolds. It’s a hugely melodic, drama laden track which features a fulsome and uptempo arrangement. Strings lush and sweet sweep quickly, horns blaze in short burst, while the rhythm section drive the track along. A quick, neo-funk bass line, and those loud pounding drums sit at the front of the track, while Teddy give’s a joyful, emotive and passionate rendition of lyrics about being in love and wanting to tell the world about it, accompanied by some sweet and uplifting backing vocals. Here, Teddy surpasses himself, as do the rest of the group. They put aside their differences, and for nearly sing minutes, demonstrate just what made the Philadelphia Sound so great. This is a combination of a great performance from the Teddy and the group, Bobby Martin’s joyous yet dramatic string and rhythm section lead arrangement and of course Gamble and Huff’s magic touch when producing the track.
Like the opening track, Wake Up Everybody, To Be Free To Be What We Are, is another track with a positive message. Here the message is that, who you are and wherever you are, you can achieve anything, and be who and what you want to. For me, that was part of the attraction of the music on Philadelphia International. Not only did the music include stunning, beautiful love songs, but music with a social conscience and music with a message. A slow dark bass line opens the track, before chiming guitars, piano and strings combine, producing a bright, melodic sound that matches Teddy’s message. When Teddy’s vocal enters, it’s half-spoken, half-sung before he goes on to produce yet another vocal masterclass. His voice, has a huskiness, and when he delivers the lyrics powerfully, his voice is full of emotion, as if he really believes the message. Behind him, tight, bright and deeply soulful backing vocals accompany him. Matching both their and Teddy’s performance is a joyous and melodic, yet dramatic and almost grandiose arrangement. That’s quite acceptable, given Teddy’s brilliant performance and the important message he was delivering.
Wake Up Everybody closes with I’m Searching For A Love, which opens with drums, percussion, flute and strings combining brightly and melodically, before the brass section help the track take a dramatic turn. After that, Sharon Paige makes her second appearance on the album. Her voice is gentle, and has a sweetness, as she thoughtfully sings the lyrics. As if recognizing this, the arrangement returns to its earlier bright and melodic sound. Guitars chime, while percussion strings, keyboards and the rhythm section provide a lovely subtle backdrop for her vocal. The rest of the group sing some of the best backing vocals on the album. Their tight vocal harmonies are the perfect accompaniment for Sharon’s vocal. Later in the song, she demonstrates that her voice is strong and that like Teddy, she can deliver a song with emotion and passion. By now the arrangement has grown, with the brass section dramatically interjecting. However, still it has a lovely lush sound, beautiful and melodic. Sharon’s vocal is perfect for the lyrics about trying to find someone to love. She seem to put everything she has into her delivery. This makes this the perfect track to close what has been a great album. Like so many of the tracks on the album, it’s a combination of a great vocal delivering good lyrics and backed by an equally good arrangement, that make this such a good track.
When I listen to Wake Up Everybody, I’m immediately struck by the sheer quality of music on the album. So good are the seven songs, that any one of them could’ve been released from the album. This is easily, one of the best albums that Harold Melvin and The Blue Notes released, and having spent some time listening to the album, I can honestly say that album is as good as Black and Blue. On the album, Teddy’s voice is outstanding, and his delivery of the songs laden in passion, emotion and drama. Let’s not forget, however, that Harold Melvin and The Blue Notes wasn’t just Teddy Pendergrass. Without the other members of the group, this wouldn’t have been the same album. Yes, Teddy sung lead vocal and his contribution was huge, but the tight, vocal harmonies were part of what made the group famous and hugely popular. Sadly, after this album, they left Philadelphia International Records, and there career was never the same. Their albums weren’t as popular, and eventually, Teddy left the group, becoming a hugely successful solo artist. However, we still have the four albums they recorded between 1972 and 1975 for Philadelphia International to remember them by. Thanks to Gamble and Huff, Harold Melvin and The Blue Notes recorded some brilliant music, including what is an outstanding album Wake Up Everybody.
HAROLD MELVIN AND THE BLUE NOTES-WAKE UP EVERYBODY.
http://www.youtube.com/watch?v=L33LTxTjaho
ARETHA FRANKLIN-LADY SOUL.
ARETHA FRANKLIN-LADY SOUL.
If you were ask anyone who loves soul music to name some of the greatest female vocalists, the name Aretha Franklin wouldn’t be far from their lips. Over a recording career that has spanned fifty-five years, starting back in 1956, when aged fourteen, she released her debut album Songs of Faith, a gospel album, until her most recent album, 2011‘s Aretha: A Woman Falling Out of Love, Aretha has been one of the biggest names in soul music. During her career, she has won eighteen Grammy Awards, had twenty R&B number one singles, with ten of her albums topping the R&B Charts. During her career, she has recorded many memorable and important albums, with the albums she recorded for Atlantic Records between 1967 and 1972, among her best work. This includes I Never Loved A Man Like I Loved You, Aretha Now, Soul ’69, Young Gifted and Black and the album this article is about, Lady Soul. These album feature some of the best music Aretha ever recorded, and each of these albums were produced by Jerry Wexler, the legendary producer. Wexler also produced Ray Charles, Led Zeppelin, Bob Dylan and Dusty Springfield during his long and illustrious career.
However, when Aretha entered the Atlantic recording studios in New York, in January 1967, Jerry Wexler had assembled a band that featured some of the most talented musicians in America. On Lady Soul, Spooner Oldham played organ, Bobby Womack guitar and King Curtis tenor saxophone while the Sweet Inspirations sang backing vocals. It truly was an all-star line up, and as if that wasn’t enough, songs by Ray Charles, Don Covay, Curtis Mayfield and James Brown all can be found on the album. One of the best known and hugely successful songs, (You Make Me Feel Like) A Natural Woman, was written by Gerry Goffin, Carol King and Jerry Wexler and gave Aretha a huge hit, reaching number eight in the Pop charts. When the album was released in January 1968, it reached number one in the Black Albums Charts, number two in the Pop Charts and number three in the Jazz Albums’ Charts. Since the album was released, it has been recognized as one of the most important albums in the history of popular music. Rolling Stone magazine put Lady Soul at number eighty-four in their list of the 500 most important albums of all time. Why I hear you ask, is this such an important album? That’s what I’ll now tell you.
Lady Soul opens with Chain of Fools, which was released as a single, reaching number two in the pop charts. Since this track was recorded, it’s been a track that’s been synonymous with Aretha, becoming one of her best known, and best loved tracks. It has that familiar opening with a brief burst of guitar, before Aretha, accompanied by The Sweet Inspirations sings. Her voice is hugely powerful, laden in emotion, as she sings about a woman who has been mistreated by her partner. As Aretha sings the vocal, the backing vocalists sweetly and soulfully accompany her. Meanwhile, her band produce an equally memorable arrangement, with the rhythm section and guitars driving the song along. Drums sit at the front of the mix, and along with Tommy Cogbill on bass provide the track’s heartbeat, while guitars chime. However, it’s Aretha her outstanding and emotion ridden and soulful vocal that steals the show. Little did she know when she recorded this track, that it would become one of her most famous tracks, a true timeless classic.
James Brown and Nat Jones cowrote Money Won’t Change You, a track which opens dramatically with guitars and drums combining before Aretha’s vocal bursts powerfully into life. Like on Chain of Fools, her vocal is a mixture of controlled power and emotion.The tempo is quick, and the arrangement grows to include the rhythm and brass sections and guitars who together, create a relentless driving sound. Horns blaze, drums pound while guitars soar and chime. Backing vocalists accompany Aretha, their soulful interjections a contrast to Aretha’s powerful, emotive, soaring vocal. Here, she demonstrates how dynamic a vocalist she is, one with a good vocal range and great control over her voice. A combination of a powerful, driving arrangement and a passionate vocal, full of sincerity and emotion as she sings that money won’t change her, make this another great track from Aretha.
When you mention the song People Get Ready to most people, they associate Curtis Mayfield with the song, either as a solo artist or with The Impressions. Over the years, it has been covered by many artists, with some great covers, while other are merely good or indifferent. However, when Aretha recorded the track for her album Lady Soul, she recorded one of the best versions you’ll ever hear. Her version is soulful with a capital S. It’s a track ridden with emotion, thoughtfully and beautifully delivered by her. As the track opens, Aretha accompanied by The Sweet Inspirations, brass section and piano delivers those familiar, beautiful lyrics. When the rhythm section and guitars enter, the track gets even better, with Aretha giving the track a gorgeous gospel sound and feel. Her delivery of the track is just stunning, made all the better by the backing vocalists accompanying her. Here, Jerry Wexler’s crack band of musicians produce one of their best performances on the album. They play brilliantly, bringing the song to life, and in the process, bringing out the meaning in the almost spiritual lyrics. By the end of the track, you feel privileged to have heard such a beautiful song, such with such emotion and feeling. Truly, this is one of the best versions of the song I’ve heard, stunning.
After such a beautiful, almost spiritual song as People Get Ready, Niki Hoeky is a very different track. It opens with horns blazing, a fast accurate bass , pounding drums and soaring, chiming guitars. The track is driven along by the rhythm section before Aretha sings, giving an atmospheric and dramatic rendition of the lyrics, accompanied by The Sweet Inspirations. Their short, soulful interjections provide a contrast to Aretha’s vocal, which is high, and quick. Her voice soars heavenwards as she brings life into the lyrics about a woman whose partner is in prison. This is a very different track the previous ones. Although the tempo is really quick, the arrangement fulsome and as usual, Aretha’s vocal dramatic and emotive, the lyrics aren’t quite as good as the previous tracks. They’re good but not great. However, given that they’re having to follow truly great songs like Chain of Fools and People Get Ready, maybe that’s understandable.
Probably the most famous track from Lady Soul is (You Make Me Feel Like) A Natural Woman, another track that Aretha made her own. Regardless of whoever else has covered this track, the definitive version of the song was recorded by Aretha. This to me, is one of her finest ever recordings. As the track opens, Spooner Oldham plays piano, before Aretha starts to sing what was, a career defining song. Her voice is strong, laden in emotion and feeling, as she delivers the lyrics. The Sweet Inspirations, short soulful interjections, punctuate the track, while strings sweep grandly, and a strong, slow bass line plays. Throughout the track, the piano accompanies Aretha, who seems to be giving the performance of a lifetime. It’s a delivery that’s a mixture of passion and emotion that results in one of the most heart-achingly beautiful songs in the history of soul music. Whether she or Jerry Wexler realized the importance of the song in 1967, when it was recorded, we’ll never know. What we do know, is it’s a timeless, classic.
Since You’ve Been Gone (Sweet Sweet Baby) was the first track on side two of the original album. This was the first of two songs Aretha cowrote with Ted White, the other being the next track, Good To Me As I Am To You. What I’ve always thought strange about Lady Soul, is that side one had three of the best songs on the album. To me, it seemed side one was almost front loaded with top quality songs. Having said that, side two features some great music too. This track opens quickly, drums crashing and guitars soaring, before Aretha’s vocal enters, with bass, piano and horns accompanying her. Quickly, an arrangement that has a fulsome, sometimes joyous sound unfolds. Aretha gives a performance that’s powerful, her vocal soaring emotively, while The Sweet Inspirations backing vocals are gospel influenced. This adds a joyousness to the arrangement, albeit the lyrics are sad, a woman singing about her man leaving her. Meanwhile, the band give a performance that’s the equal of Aretha’s, a sterling combination of raw power combined with emotion and passion.
The previous track, Since You’ve Been Gone (Sweet Sweet Baby) demonstrated that Aretha, as well as being a talented singer and pianist, was also a talented songwriter. Along with Ted White, she cowrote Good To Me As I Am To You, a track that has a much subtler and quiet opening than the previous track. It’s just piano and guitar that combine before Aretha sings. This subtle backdrop suits the song, with Aretha’s voice taking centre-stage. Quickly, the arrangement grows, with the rhythm and brass sections joining, as Aretha’s vocal increases in drama, power and emotion. Likewise, the horns, drums and piano add drama to the track, attempting to match a hugely powerful, yet controlled vocal from Aretha. As she sings, he voice is passionate, but she’s almost warning her man, you’d better be good to me. By now, she’s almost bawling the lyrics, accompanied by soaring, screaming guitars and throwing in the odd whoop and holler for good measure. As the track ends, you can only admire Aretha’s controlled power, and almost aggressive vocal. She can bring a song to life, inject meaning and feeling, that other vocalists fail to do. During the track, her vocal, like the arrangement, is laden in drama, as she sings some excellent lyrics. Like I said earlier, side two has some great music on it, including this track.
Blazing horns open Come Back Baby track that has a really quick tempo, driven along by a melange of rhythm section, guitars and organ. The Sweet Inspirations live up to their name, with their sweet and soulful interjections helping inspire Aretha to deliver another stupendous slice of Southern Soul. Her voice is quick, soulful, rising and falling, a combination of restrained power and joyous emotion. Likewise, the arrangement has a joyous sound, with horns blazing, chiming and soaring, guitars played by Jimmy Johnson and Bobby Womack and a powerful rhythm section, that drive the song along. They seem to take their lead from Aretha’s quick, emotive and joyful vocal, matching her every step of the way. Between them, they do Ray Charles, who wrote this song proud. He would’ve been proud of this fantastic interpretation of one of his best known songs.
Groovin’ is a song made by the Young Rascals, who for me, recorded the definitive version of this song. However, here Aretha gives her own interpretation of the track. It begins with the rhythm section, organ and guitars combining brightly and melodically as Aretha sings. The song is slowed down, given a Southern Soul sound, with Spooner Oldham atmospherically playing organ, and The Sweet Inspirations adding gentle, subtle backing vocals. Aretha gives a much more gentle, restrained, but still hugely soulful vocal. Behind her, a beautiful arrangement is unfolding, with Spooner Oldham playing a huge part, while chiming guitars and a more restrained contribution from the rhythm section combine masterfully. Together with Aretha’s thoughtful and soulful vocal, this is one of the best versions of this song I’ve ever heard. Although not quite as good as the Young Rascals version, it’s not far off it.
Lady Soul closes with Ain’t No Way, a song written by Carolyn Franklin. It opens with piano, slow sultry horns and drums playing, before Aretha’s vocal enters. It’s hugely emotional, thoughtful and drenched in horns, with Cissy Houston contributing vocal obbligato. The Sweet Inspirations gently sing backing vocals, while rasping horns punctuate the track, and strings sweep lushly. By now the arrangement has a grand but soulful sound, with Aretha’s voice soaring emotionally and powerfully heavenwards. Behind her, one of the best arrangements on the album unfolds, one that contributes elements of a big band sound with the best soul music has to offer. This is potent and beautiful mixture, made all the better by Aretha’s brilliant vocal and a stunning contribution from Cissy Houston. It’s the perfect way to end what has been one of the best albums Aretha Franklin ever recorded.
I’ve long been a fan of Aretha Franklin and her music, and nowadays, when people draw comparisons with the younger, modern singers of today, I find this quite simply ridiculous. Their music is neither a match for Aretha’s, nor that of Candi Staton, Ann Peebles, or the older jazz singers like Billie Holliday and Nina Simone. The nearest they come to the greats, is singing about them. During Aretha’s long and illustrious career she has recored many great albums. However, like many people, it’s the music that she recorded between 1967 and 1972, for Atlantic Records that I like the most. Lady Soul was one of these albums, and featured two songs that Aretha made her own, Chain of Fools and (You Make Me Feel Like) A Natural Woman. Both songs are synonymous with Aretha, becoming two of her best known, and best loved tracks. She recorded the definitive version of both tracks, and on Lady Soul gave great interpretations of People Get Ready and Come Back Baby, tracks by Curtis Mayfield and Ray Charles. On Lady Soul, Aretha demonstrated her talents as a songwriter, co-writing two tracks with Ted White, Since You’ve Been Gone (Sweet Sweet Baby) and Good To Me As I Am To You, both of which are well written, and beautifully delivered by Aretha. If you’ve never heard Lady Soul, it’s an album that belongs in every record collection. It features Aretha Franklin at her very best. To me, it’s the perfect introduction to the career of one of the greatest female soul singers of all time. Standout Tracks: Chain of Fools, People Get Ready, (You Make Me Feel Like) A Natural Woman and Ain’t No Way.
ARETHA FRANKLIN-LADY SOUL.
|
AL STEWART-YEAR OF THE CAT.
AL STEWART-YEAR OF THE CAT.
In July 1975, Al Stewart released what was his seventh studio album Year of the Cat, which was recorded at the famous Abbey Road studios in London. Like his previous album, Modern Times released in 1975, it was produced by Alan Parsons. However, unlike Modern Times. Year of the Cat was an album that would raise his profile, transforming his career, and in the process, giving him a number five album in the US Billboard 100. This was the album that helped to break Al in the US, and since its release, is considered the finest album he has released. What makes the success of the album so remarkable, is that before Al thought of titles for each of the songs on Year of the Cat, he had written and recorded all the music and orchestrations for the album. It was only then, that he thought about titles for the songs. Remarkably, he even confessed in a radio interview that sometimes, he has up to four sets of lyrics for each song. Thankfully, he chose the lyrics wisely on this album, and in doing so, produced what’s easily the best album he ever recorded. I can remember the album being released, and the next year, the title track, Year of the Cat being a hit single. It was one of these songs that was constantly on the radio, hugely catchy and totally memorable. Back in 1976 and 1977, music was changing, and changing fast. Punk was on its way, and artists like Al were perceived as yesterday’s men, by the angry young men of punk. However, thirty-five years after Al released Year of the Cat, it’s still a hugely popular album. Of all the albums Al has released, Year of the Cat remains my favorite. Although there are just nine songs on the album, they’re nine great songs, which I’ll now tell you about.
Year of the Cat opens with Lord Grenville, a track Al wrote about Sir Richard Grenville, an Elizabethan sailor and explorer. History is a subject that Al has often written about in his songs, during his long career. Acoustic guitars accompany Al’s soft voice before drums, electric guitars and bass enter. A piano and strings enter and by now, Al’s delivery of some atmospheric lyrics, which have such a strong narrative that you can almost imagine the scenes unfolding before your eyes. His lyrics paint pictures, pictures that come alive. Meanwhile, the arrangement has grown as strings, guitars, piano and the rhythm section combine masterfully to produce a beautiful slow and atmospheric arrangement. Later in the track, the arrangement builds, getting fuller and tinged with drama. It’s almost reminiscent of sea voyage across waters still and troubled. Together with Al’s lyrics which he delivers beautifully, it’s an outstanding track to open the album.
On the Border is a track that conjurs up images of smuggling, secret assignations and doubling crossing. Al admits that the song is about the rise and fall of the British Empire, with references to the Spanish Civil War. A piano plays quickly and dramatically as the track opens, before a bass quick and prominent plays and percussion enters. As Al sings, he’s accompanied by an acoustic guitar and drums, which join an arrangement that quickly builds, becoming much fuller and laden in drama and intrigue. Here, the tempo is quicker, Al’s voice is louder and stronger, the lyrics again, painting a picture and telling a story, really vividly. My only criticism of the track is that it seems to end rather quickly and suddenly. I’ve always thought that the song should be longer, as the “story” remains almost unfinished. Apart from that, this is a track that demonstrates both Al’s talent as a songwriter and vocalist.
On Midas Shadow, Al deals with the subject of money, and how business people seem to make money intuitively, and naturally. Someone who can do this, has what he calls the Midas Shadow. The track opens brightly and melodically with keyboards playing, before guitars and the rhythm section enter accompanied by subtle percussion. When Al sings, his voice is soft and gentle, as he sings about business people with the Midas Shadow traveling the world, living in hotels as they consider their next monetary conquest. Behind him, one of the most melodic arrangements on the album unfolds. Keyboards are at the heart of the arrangement, with guitars, rhythm section and percussion helping drive the track along, the arrangement rising and falling, waves of beautiful lush music emerging from your speakers. What makes this such a great track are the lyrics and Al’s delivery of them. They’re full of social comment which more than ever, are still relevant today. Al’s delivery of them bring them to life, so much so, you can visualise the scenes of greed and avarice taking place.
Sand In Your Shoes was Al’s attempt to write a radio friendly hit. The song was meant to sound like something Dylan would’ve written circa 1966, however, this isn’t quite the case. An organ, rhythm section and guitars combine, while Al’s voice is loud and full of charisma as he sings the lyrics to a catchy and melodic song. The arrangement although not quite Dylan circa 1966, has a retro sound and feel. It’s a full arrangement complete with soaring and chiming guitars, an organ that sounds like it belongs on a track from 1966, as it atmospherically plays and a driving rhythm section. Here Al attempted to replicate Bob Dylan circa 1966, but in the end, managed to create Al Stewart 1976. The arrangement although it has a retro sound, it’s both melodic and catchy, is much softer than Dylan’s sound, and Al’s voice is the total opposite of Bob’s gruff and raspy voice. In the end, he created a song that was radio friendly, and although it wasn’t released as a single, it’s one that’s melodic and really catchy.
When Al was writing the lyrics to Year of the Cat, he was struggling to come up with anything, when out of nowhere, came up with “nothing that’s forced can ever be right. If it doesn’t come naturally, leave it.” Suddenly, he felt, this was the genesis for a song. Once the song was finished, it would become one of his most popular songs. It’s a quick track, that opens with piano, guitars, rhythm section and organ combining before Al’s soft and gentle voice enters. Here, the lyrics are literate and descriptive, delivered quickly with emotion and passion. Behind him, one of the best arrangements on the album is unfolding. The tempo is quick, the sound fulsome, with guitars soloing, soaring and chiming, with a piano and organ combining brilliantly, while drums pounding, helping to drive the track along at breakneck pace. Throughout the track, there’s so much going on, all of it good. This is thanks to some hugely talented musicians. Together with Al, they all contribute towards making this easily, one of the album’s highlights.
Flying Sorcery sees Al return to his folk roots, with a track that’s what I’d associate with English folk-rock. This song sees Al sing about flying and the pioneers of aviation. The track opens with Al gently playing his acoustic guitar, ably assisted by Peter White who has long been at Al’s side playing both acoustic guitar and keyboards. After that, the arrangement opens up with organ and rhythm section joining as Al pays homage to the early aviators, conjurring up romantic images, images so strong they play like a film before your eyes. Later in the track, a harmonica adds atmosphere, as Al’s voice soars. Throughout this track, there are some beautiful guitar solos, and the band play thoughtfully, and at times, with subtlety. Other times, the arrangement is fuller, rockier, making this a track of contrasts. However, it’s Al’s lyrics and delivery of them, that make this such a great track, demonstrating Al’s talents as a songwriter supreme.
If like me, you’ve spent any time living in a hotel, during your life, Broadway Hotel is a track that you’ll be able to relate to. Al wrote the song about people who are wealthy enough to spend their lives living in hotels. Correctly, Al says that in some ways, this is like living without a past, with nothing real or tangible to show for life. The track opens slowly with Al singing accompanied by guitars, piano and rhythm section, as he sings about what must be a transient, almost surreal way to live. Quickly, the arrangement fills out, with keyboards and strings joining the arrangement, giving the track a grand sound and feel. Strings soar, while the piano plays and guitars and the rhythm section accompany them, providing a contrast. At that point, folk, rock and elements of classical music combine. The arrangement rises and falls, the tempo changing and the arrangement takes a dramatic turn as Al sings. He too, delivers the lyrics in a dramatic fashion, during what is a very different sounding track. Here, the way the strings and keyboards combine, give the track an almost grandiose sound, and together with subtle changes in tempo, it’s a track laden in drama and suspense.
Part of Al’s inspiration for One Stage Before, a song about reincarnation, was Kurt Vonnegut’s book Cat’s Cradle. When the track opens, an acoustic guitar and percussion combine, before Al sings. Immediately, it’s apparent his vocal isn’t as clear as on previous tracks, it sounds distant. Maybe this is to bring home the lyrics, especially given the subject matter. It just seems that the vocal would be just as effective without being as blurred. The arrangement meanwhile, is fast and full, even slightly dark, with guitars, rhythm section, keyboards and percussion combining with sweeping strings. Al’s vocal is thoughtful, his lyrics thought provoking and literate, and together with this slightly dark arrangement, the track moves along quickly and dramatically, with Guitars soaring, chiming and screaming, while drums pound and an organ adds atmosphere, However, by the end, I remain unconvinced about the way the vocal sounds, it’s distant and blurred. To me, it slightly spoils what would’ve been a perfectly good track. Apart from that, it’s a good track, with a dark and dramatic arrangement and intelligent, thoughtful lyrics.
The final track on the album is the best known one, Year of the Cat, a track about a man who buys a one-way bus ticket to North Africa. During his trip, he meets a girl in Casablanca, who constantly talks about years of cats. He falls asleep at her flat, misses the bus, and now stranded, decides to stay in town. Although it wasn’t his original plan, he decides to make the most of the situation. That’s the story behind what’s probably Al’s best known song. When the piano plays that familiar introduction, it’s like meeting an old friend. Guitars and rhythm section join the piano, before Al sings some of the best lyrics on the album. They’re hugely evocative, painting a picture of mysterious, almost, exotic woman, in the town Humphrey Bogart made famous. Meanwhile, the arrangement meanders magically, a mixture of piano, strings guitars and rhythm section, adding atmosphere and drama to Al’s lyrics. After four minutes an outstanding guitar solo is joined by a sultry saxophone and sweeping strings, as the track just gets better and better. As the track ends, you can see why this track was so hugely popular, and in a way, helped make Al Stewart a huge star. It’s a brilliant track, melodic, catchy and hook laden.
When Al Stewart released Year of the Cat, this was his seventh album, and although he was popular in both the UK and US, this album really transformed his career. It was a far cry from his early albums when he was a folk singer, struggling to make his way in the music industry. Although he wasn’t an overnight star, hardly anyone ever is, his career received a huge boost. The album reached number five in the US, and the single Year of the Cat, number eight. This was a huge improvement on his previous album Modern Times, which only reached number 133 in the US. Suddenly, it seemed, everyone was aware of his music, with Year of the Cat one of the most memorable songs of 1977. Al’s next album, Time Passages, released in 1978, built in the success of Year of the Cat, reaching number eight in the US Billboard 100. Since then, Al has released sixteen successful albums and continues to tour the world.However, Year of the Cat is considered his best album, and when lists of the most important albums in the history of popular music are compiled, Year of the Cat is on them. Now aged sixty-six, the dreamer with a corduroy jacket has come a long way. Standout Tracks: Lord Grenville, On the Border, Midas Shadow and Year of the Cat.
AL STEWART-YEAR OF THE CAT.
dereksmusicblog
dereksmusicblog 